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THE HARVEST MOON 


BY 

AUGUSTUS THOMAS 



SAMUEL FRENCH, 28-30 West 38th St., New York 


BILLETED, 


A comedy in 3 acts, by F. Tennison Jesse and H. Harwood. 4 males, 
5 females. One easy interior scene. A charming comedy, constructed 
with uncommon skill, and abounds with clever lines. Margaret Anglin’s 
big success. Amateurs will find this comedy easy to produce and popular 
with all audiences. Price, 60 Cents. 

NOTHING BUT THE TRUTH. 

A comedy in 3 acts. By James Montgomery. 5 males, 6 females. Cos- 
tumes, modern. Two interior scenes. Plays 2J4 hours. 

Is it possible to tell the absolute truth— even for twenty-four hours? It is — 
at least Bob Bennett, the hero of “Nothing But the Truth,” accomplished the 
feat. The bet he made with his business partners, and the trouble he got into— 
with his partners, his friends, and his fiancee — this is the subject of William 
Collier’s tremendous comedy hit. “Nothing But the Truth” can be whole-heartedly 
recommended as one of the most sprightly, amusing and popular comedies that 
this country can boast. Price, 60 Cents. 


IN WALKED JIMMY. 

A comedy in 4 acts, by Minnie Z. Jaffa. 10 males, 2 females (although 
any number of males and females may be used as clerks, etc.) Two 
interior scenes. Costumes, modern. Plays 2^4 hours. The thing into 
which Jimmy walked was a broken-down shoe factory, when the clerks 
had all been fired, and when the proprietor was in serious contemplation 
of suicide. 

Jimmy, nothing else but plain Jimmy, would have been a mysterious figure 
had it not been for his matter-of-fact manner, his smile and his everlasting 
humanness. He put the shoe business on its feet, won the heart of the girl 
clerk, saved her erring brother from jail, escaped that place as a permanent 
boarding house himself, and foiled the villain. 

Clean, wholesome comedy with just a touch of human nature, just a dash of 
excitement and- more than a little bit of true philosophy make “In Walked Jimmy” 
one of the most delightful of plays. Jimmy is full of the religion of life, the 
religion of happiness and the religion of helpfulness, and he so permeates the 
atmosphere with his “religion” that everyone is happy. The spirit of optimism, 
good cheer, and hearty laughter dominates the play. There is not a dull moment 
in any of the four acts. We strongly recommend it. Price, 60 Cents. 

MARTHA BY-THE-DAY. 

An optimistic comedy in three acts, by Julie M. Lippmann, author of 
the “Jdfartha” stories. 5 males, 5 females. Three interior scenes. Cos- 
tumes modern. Plays 2J4 hours. 

It Is altogether a gentle thing, this play. It is full of quaint humor, old- 
fashioned, homely sentiment, the kind that people who see the play will recall 
and chuckle over tomorrow and the next day. 

Miss Lippmann has herself adapted her very successful book for stage service, 
and in doing this has selected from her novel the most telling incidents, infectious 
comedy and homely sentiment for the play, and the result is thoroughly delightful. 

Price, 60 Cents. 

(The Above Are Subject to Royalty When Produced) 


SAMUEL FRENCH, 28-30 West 38th Street, New York City 

New and Explicit Descriptive Catalogue Mailed Free on Request 




“THE HARVEST MOON” 

io- 


A PLAY IN FOUR ACTS 


/ 

BY 

AUGUSTUS THOMAS 

• « 


All Rights Reserved 


New York 
SAMUEL FRENCH 
Publisher 

28-30 West 38th Street 


London 

SAMUEL FRENCH, Ltd, 
26 Southampton Street 
STRAND 



Revised, : 



Copyright, 1922, by Augustus Thomas 


Especial notice should be taken that the possession of 
this book without a valid contract for production first 
having been obtained from the publisher, confers no right 
or license to professionals or amateurs to produce the play 
publicly or in private for gain or charity. 

In its present form this play is dedicated to the reading 
public only, and no performance, representation, produc- 
tion, recitation, or public reading may be given except by 
special arrangement with Samuel French, 28-30 West 38th 
Street, New York. 

This play may be presented by amateurs upon payment 
of a royalty of Twenty-Five Dollars for each perform- 
ance, payable to Samuel French, 28-30 West 38th Street, 
New York, one week before the date when the play i 
given. 

Whenever the play is produced the following notice must 
appear on all programs, printing and advertising tor the 
play: “Produced by special arrangement with Samuel 
French of New York.” 

Attention is called to the penalty provided by law for 
any infringement of the author’s rights, as follows: 

“Section 4966 : — Any person publicly performing or rep- 
resenting any dramatic or musical composition for which 
copyright has been obtained, without the consent of the 
proprietor of said dramatic or musical composition, or his 
heirs and assigns, shall be liable for damages thereof, 
such damages, in all cases to be assessed at such sum, not 
less than one hundred dollars for the first and fifty dol- 
lars for every subsequent performance, as to the court 
shall appear to be just. If the unlawful performance and 
representation be wilful and for profit, such person or 
persons shall be guilty of a misdemeanor, and upon con- 
viction shall be imprisoned for a period not exceeding one 
year.” — U. S. Revised Statutes; Title 60, Chap. 3. 


©CLQ G3510 


JAN 29 ’23 


'"H4 



PREFACE 


The publisher of this play, Samuel French, New 
York, has already printed seven plays of mine to 
each of which a preface has been written.* Each 
preface has attempted rather informally to give the 
genesis of its play in my own mind and somewhat 
of the method of the play’s construction. The in- 
tention has been to be helpful to less experienced 
persons who care about the technique of playwriting. 

Considering this play, The Harvest Moon, the 
subject itself seems to transcend the mere question 
of technique. A whole new school of psychology 
has in the last thirty years grown up around the 
subject of suggestion. One definite religious cult 
and several therapeutical philosophies have also been 
of the outcome. The limit of a preface or even of 
a volume of this size forbids anything like a com- 
prehensive discussion of the subject, but such sim- 
ple presentation as space and propriety permit, to- 
gether with the dramatic use of it in the play itself, 
may prompt a study that will furnish its own com- 
pensation. 

The law of suggestion as the scientists formulate 
it rests upon the assumption that man is endowed 
with two minds or with a single mind that is defi- 
nitely divided into two parts. If one accepts this 
postulate of duality it doesn’t matter much whether 

* “The Witching Hour,” “In Mizzoura “Mrs. Leffing- 
well’s Boots,” “Oliver Goldsmith,” “The Other Girl,” “The 
Earl of Pawtucket,” and “The Copperhead.” 

I 


2 


PREFACE 


the possession is of two distinct minds or of one 
mind definitely divided. The writers on the subject 
call the every-day mind with which we consciously 
direct our actions and consciously receive impres- 
sions and with which we think and reason the ob- 
jective mind; that intelligence which as part of its 
purpose controls the automatic functions of our 
existence, they call the subjective mind. 

Two important characteristics of this subjective 
mind are that it is incapable of reason, and that it 
accepts from whatever origin any suggestion that 
is not prohibited by a stronger counter-suggestion. 
This counter-suggestion may come from some other 
source or from one’s own objective mind, and the 
suggestions so accepted by the subjective mind have 
all the power of fact. That they may be untrue is 
not taken into consideration because the subjective 
mind has not the power to discriminate or to reason. 
To quote one of our latest writers, “Every idea 
accepted by the Unconscious (the subjective mind) 
is transformed by it into a reality and forms hence- 
forth a permanent element in our life.” 

I believe that for the purposes of this play the 
above is all that it is necessary to state as the other 
interesting attributes ascribed to the subjective mind 
such as perfect memory, the power of telepathic 
communication, clairvoyance, and the like, are not 
essential to the simple subject of suggestion on 
which the play is based. 

During a short season in the year 1889, I had a 
business association with the Thought Reader, 
Washington Irving Bishop. I became convinced of 
the existence of telepathy and familiar with many 
of its phenomena. One department of such tele- 
pathic communication is that which has to do with 
suggestion. Between the year 1889 when I was with 
Bishop and the year 1907 when I produced the play, 


PREFACE 


3 


The Witching Hour, which dealt with telepathy, I 
was progressively aware of the part that suggestion 
plays in every life. I was impressed by the harm 
everywhere apparent as the result of negative and 
hurtful and inhibiting suggestions, and I thought 
that a drama upon that theme if it could be so simpli- 
fied as to be plain to the average theatregoer would 
be worth while. Associated with that idea I had 
what I think I may call a knowledge of the influence 
of color upon the subjective mind. I had seen per- 
sons under the influence of hypnotism demonstrate 
beyond any doubt in my own mind or in the minds 
of men of intelligence and education also present, 
that these hypnotized subjects were able to see what 
has been called an aura, or atmosphere, a kind of 
cloud surrounding every individual. This aura un- 
der proper conditions — not hypnotic — -1 had been 
able to see myself. In color it is like a vapor or fog; 
but while these hypnotized subjects saw it also in 
that neutral tone in the ordinary moods of its owner, 
they reported that it took on different colors at cer- 
tain different moments. These moments were of 
differing emotional moods assumed by the persons 
under observation. The colors as far as our experi- 
ments were carried were invariably the same for the 
same respective moods. To be a little more explicit, 
the moods even when self-induced showed deep red 
for anger, rose color for affection, green for jealousy, 
bright yellow for gaiety, and so on. Writers on this 
phenomenon report that these actions between the 
moods and the colors are reciprocal ; that is to say, 
that an environment of one of these colors produces 
in the passive recipient the respective mood of that 
color. 

To the average reader all of this must seem quite 
fantastical and unreal, but I thought I could project 
in a play this fact of the psychological effect of 


4 PREFACE 

color as well as the related fact of the force of 
spoken suggestion. 

To secure the most positive demonstration of the 
hurtful quality of negative suggestion I decided to 
start with what I thought would be the most sym- 
pathetic and pitiable personality thus unjustly used. 
For that character I imagined a young girl of ideal 
antecedents ; a girl who had had a gentle mother of 
cultivated stock and fine training, and who had had 
a father of intellectual power and notable achieve- 
ment. I put this girl under the influence of a 
dominating aunt whose adverse suggestions were 
continually contrary to the facts. That is to say, the 
aunt's sugestions were to the effect that the mother 
had been wayward and unreliable, impulsive and 
perverse, and as a final blow, that the father as far 
as anything was known concerning him was a scamp, 
and when under the continued repetition of these 
negative suggestions the young girl whose surround- 
ings in other respects were all wholesome and sus- 
taining was finally broken down, I showed a cure by 
a wise and authoritative denial of all these sugges- 
tions and a powerful presentation of facts as they 
were. 

Building my story antecedent to the action of the 
play I have the mother as a young wife go to France 
in pursuit of her studies as a singer preparing for 
grand opera. Her husband, whose profession keeps 
him in America, is finally persuaded to grant her a 
legal separation. She meets and falls in love with 
a French writer who becomes the father of my 
heroine. A quarrel between these two people in 
France leaves the mother alone at the time of the 
girl's birth and under the sudden belief that she has 
not been legally married. The woman dies. The 
baby is taken by the first husband and brought up 
under his sister’s care, ignorant of all these happen- 


PREFACE 


5 

ings but constantly nagged by her New England 
aunt and filled with the belief that she is a person 
without character. To make these suggestions only 
stupid and not malicious I have the aunt sincere in 
her own opinions. To have the young girl’s subse- 
quent conduct the consequence of the suggestions 
alone and not of other influences, I put her in a safe 
New England household where all the inducements 
are to a well-ordered life, and then I have her 
behave as any sensitive girl would behave under 
such constantly negative predictions. 

In groping for my father in the story, I was in- 
fluenced by Daudet’s dedication of his novel, Sapho, 
“To My Sons when they are Twenty.” I have my 
French litterateur dedicate a novel “To My Daugh- 
ter when she is Twenty,” and then after years of 
searching for the wife from whom he parted in 
their first conjugal quarrel I bring him in touch with 
his daughter in her New England environment 
where she supposes herself the daughter of her 
foster father, and I have him arrive at the time 
which is crucial in her experience, and when all of 
the baleful suggestions are bearing their natural con- 
sequences. It is at this point in the story that the 
play begins. 

The other people in the play, two young men who 
are rivals for the girl’s affection ; the mother of one 
of these who represents the social element, and the 
old Judge whose humor and wisdom are helpful in 
the extrication, I invented as my story grew and I 
felt the need of these special elements. 

The color theory as will be seen I introduce as a 
demonstration when the real father is preparing the 
mind of his girl for the more positive and curative 
suggestions that he makes later on. To let the harm- 
ful suggestions of the aunt impel the girl in the 
line of their prediction, I make the girl’s prompted 


6 


PREFACE 


waywardness drive her toward the theatre where by 
association in the plan of the story it seems best to 
have one of her admirers an earnest actor-play- 
wright. The reasons for the rest of the construc- 
tion become plain as one reads the story as it is given 
in the dialogue. 

The history of the play as produced is interesting. 
It had an anaemic existence of some sixteen weeks 
which is another way of saying that it had a very 
enthusiastic support of the thoughtful people who 
agreed with it and who were willing to concede that 
the theatre was not bound by the paralyzing dictum 
of “Art for Art’s sake.” The great body of the 
theatregoing public who take their drama as a matter 
of relaxation were not attracted, but the enduring 
impression that the piece made with that section of 
the public first referred to has encouraged me to 
commit its lines to print. Personally I liked it, and 
I have a hope that the excellent artist, Mr. George 
Nash, who gave such a satisfying performance of 
Monsieur Vavin, will some day revive it. 

Augustus Thomas. 


First production, New York, 1909. 
CHARACTERS 
M. Vavin 

Professor Fullerton 
Judge Elliott 
Willard Holcomb 
Graham Winthrop 
Henri 

Dora Fullerton 

Miss Cornelia Fullerton 

Mrs. Winthrop 

Maid 


SCENES 

Act I. — Studio of Marshall Fullerton at Lenox. 
Act II. — Drawing Room of Mrs . Winthrop* s 
Apartment , New York. 

Act III. — Handsomely furnished hotel room. 

Act IV. — Same as Act /. 


7 





♦ 




THE HARVEST MOON” 

ACT I 

Scene: Studio of Marshall Fullerton at Lenox. 
On the right at an angle running from the 
proscenium arch to about a foot off centre in 

4 is the zvall containing big fireplace in middle. 
Brick breast of fireplace dimensions 8 ft. flush 
with middle, overhanging that shelf which is 

5 ft. 9 in. off floor is a large marine canvas in 
a frame. Opening off fireplace 5 ft. wide by 

4 ft. high. Fireplace fitted with andirons and 
club squat. Left flat obliques down to 4 or 

5 ft. behind tormentor so as to require no 
wing 1. This carries perpendicular wall about 
1 2 ft. high, then breaks in to angle of 45 
degrees running toward ridgepole. Skylight 
and studio light both on the inclined roof, and 
in left wall beginning at a distance 9 ft. from 
floor. Under this left light is bookcase and 
curtains — curtains drawn back showing well 
stocked book shelves — book shelves presumably 
above chimney breast on right. A small door 
in the right wall, upper corner, lets to garden; 
a double door between the tormentor and chim- 
ney breast in 1 R. lets to room reached by three 
steps from* the stage going up. Studio would 
be lighted by marine over mantelpiece fitted 
with hooded electrolier. Table will set at al- 
most centre, more oblique than the right wall, 

9 


10 


THE HARVEST MOON 


that is to say , if long table, more nearly parallel 
to footlights. Below this table and backing it 
will be old-fashioned hair cloth sofa so low as 
not to hide table or action taking place there. 
Heavy round top mahogany table , smaller size 
than writing table centre, will be at left down 
stage. Chippendale chair alongside; swivel 
chair at table. Studio to be lead color, relieved, 
however, by curtains on bookcase and color of 
old rug. The entrance in i.R. to be backed by 
a living room wall or reception room wall ; 
backing same slant as left flat. Skylight to rep- 
resent opaque glass on lower half — plain glass 
above — capable of receiving moonlight if de- 
sired. 

Time: August. 

Discovered: Stage empty. Enter by door right 
Aunt Cornelia, followed by Dora. Cornelia 
is not young. Dora is eighteen. 

Cornelia, (c.) No, you can’t explain it, Dora, 
and I won’t excuse you for it. 

Dora. Why, Aunt Cornelia, what could I have 
done? fR.c. Sits, gets book.) 

Cornelia. Spoken English. There is no greater 
piece of impoliteness than to speak a foreign lan- 
guage in the presence of a third person who doesn’t 
understand it. 

Dora. I only replied. 

Cornelia. (Turns l.J Replied in French. 

Dora. So did papa — so did Judge Elliott. 

Cornelia. I’m not responsible for the manners 
of Judge Elliott — or my brother, either. 

Dora. But half of the talk at the table was in 
French. 

Cornelia, (l.c.) It seems as if you all spoke 


THE HARVEST MOON 


ii 


English until you had something to say that you 
didn’t wish me to hear. 

Dora. That’s only Monsieur Vavin’s animation, 
Aunt Cornelia. 

Cornelia. You can’t lay it on Monsieur Vavin, 
Dora — it’s inherited — your mother used to do the 
same thing. 

Dora. I’ll try not to do it again. 

Cornelia. Thank you. Now I’d like to know 
what it was about ? ( Sits r. of table.) 

Dora. About the theatre. 

Cornelia. What about the theatre? 

Dora. (Weary) Oh, nothing to do with me, 
Aunt Cornelia — the theatre as an institution. Papa 
thought it .ought to be printed. Monsieur Vavin 
thought it should be played. 

Cornelia. Was he approving of it? 

Dora. That is his profession — playwright. ( Ris- 
ing, going r. at fireplace.) 

Cornelia. Was he approving of it? Of play 
acting — of play actors? 

Dora. He thought plays should be played. 

Cornelia. Does he approve this thing you are 
doing ? 

Dora. What I’m doing wasn’t mentioned. 

Cornelia. I don’t see why it wasn’t mentioned. 

Dora. Probably don’t like to discuss it in my 
presence. 

Cornelia. (Rises, crosses to r.J I don’t under- 
stand you, Dora, consenting to make all this trouble 
when you see your father’s serious face. I never 
saw him so worried, not even when he was going 
through the same business with your mother. I 
should think when you see that dear, sweet face 
of his . . . (Down r.J looking as unhappy as it 
looked tonight, that you would just put all your 
vanity behind you and settle down into being a 
decent woman. 


12 


THE HARVEST MOON 


Dora. I shall be a decent woman, Aunt Cornelia, 
even in the theatre. 

Cornelia, (r.) That’s what your mother said 
when she . . . 

Dora. (c. Interrupting ) Please don’t say any- 
thing more about my mother. I can’t help it if I’m 
like her. I never saw her, so I’m certainly not 
imitating her. ( Over l. ) 

(Enter Fullerton and Holcomb . ) 

Fullerton, (r.c.) Cornelia! 

Cornelia, (c.) Marshall? 

Fullerton. Mr. Holcomb. 

Cornelia. ( Stiffly ) How d’you do? 

Holcomb. (Bows to Cornelia J Miss Fullerton. 
(Crosses to l. Shakes hands with Dora.J 

Fullerton. Won’t you join the Judge and Mon- 
sieur Vavin a moment? 

Cornelia. Yes. (Exit.) 

Fullerton. (To HolcombJ Judge Elliott is my 

attorney and . . . 

Holcomb. I met him at Syracuse? (To Dora.J 

Dora. Yes. 

Fullerton, (r.) I’m asking Judge Elliott’s ad- 
vice about Dora’s wish to play in your drama. (TIol- 
comb nods.) Monsieur Vavin, my other guest, is 
the great French dramatist. Perhaps you know?. . . 

Holcomb, (c.) His writing? Yes, sir. 

Fullerton. ( r.c.J I want him to advise Dora. 
Later I hope you will consent to talk with both these 
gentlemen. 

Holcomb. If you wish it. 

Fullerton. I want first to speak of the more 
personal question. 

Holcomb. That is ... ? 

Fullerton. Dora has told me that you and she 
expect to be married. 


THE HARVEST MOON 


13 

Dora. (l.c. As Holcomb turns to her) Our 
engagement ? 

Holcomb. Yes, sir. 

Fullerton. I regret you didn’t consult me, Mr. 
Holcomb. 

Holcomb. I meant to do so, Professor. . . . 

Fullerton. Before you considered yourselves 
engaged. 

Holcomb. We haven’t announced it. 

Dora. No. 

Fullerton. Before assuming any promise. 

Holcomb. Well — merely talking it over takes the 
shape of a promise if you’re in earnest. 

Fullerton. There’s been an announcement of 
Dora’s engagement to our neighbor, Mr. Winthrop 
— some time ago. 

Dora. His mother did that after I’d broken it, 
Papa. 

Fullerton, (r. to HolcombJ You knew of 
that engagement? 

Holcomb. (Nods) But that was all over. 

Fullerton. Not positively over. 

Dora, (c.) Positively — yes, Papa. 

Holcomb, (l.) And Dora explained it fully. 

Dora. I explained it fully to Graham, too. He 
understood just how I happened to do it. 

Fullerton. Happened? A betrothal isn’t an 
accident, Dora. ( Goes r.) 

Dora. Aunt Cornelia was saying that I’d ruined 
my reputation by running away from school. I was 
frightened. I didn’t want to grow up to grieve you, 
too. (To Fullerton.J And when Graham asked 
me I was so grateful I’d have said “Yes” to any- 
body. But at school I had plenty of time to think it 
over. I hadn’t done anything wrong those two 
weeks I was away. 


14 


THE HARVEST MOON 


Holcomb. (To Fullerton ) There wasn't any 
member of the company more well behaved. 

Fullerton. Graham’s mother doesn’t think his 
engagement broken. 

Dora. Then he hasn’t told her, that’s all. 

Fullerton. Did Graham consent to break it? 

Dora. He tried to argue about it, naturally. 

Fullerton. Then he evidently didn’t. ( Crosses 
to c.) And, Mr. Holcomb, you must consider your 
promise to each other — as — recalled for the present. 
( Crosses up stage. Knock at door back.) Come in ! 

(Enter Mrs. Winthrop and Graham Winthrop. 
Dora r. Mrs. Winthrop is a fashionable 
widow, looking too young to be the mother of 
Graham .) 

Mrs. Winthrop. Good-evening. 

Fullerton. (Goes to fireplace) Good-evening, 
Mrs. Winthrop. 

Graham. (To Dora,) How are you to-night? 

Dora. (Introducing) Mr. Holcomb, Mr. Win- 
throp. 

Graham. (Crosses to l.) Oh, we’ve met at The 
Players, haven’t we? 

Holcomb, (l) Yes. 

Graham. Thought so. My mother, Mr. Hol- 
comb. 

Mrs. Winthrop. (Down r.c.J Oh, you’re the 
gentleman that’s written the play. 

Holcomb. Yes. 

Mrs. Winthrop. (To Fullerton,) It’s de- 
cided ? 

Fullerton, (r.c., over to Dora,) We’re going 
to talk it over presently. The Judge is here — and 
Vavin. 

Mrs. Winthrop. Cornelia told me. I’ve brought 
a book of his. Where is Cornelia ? 


THE HARVEST MOON 


15 

Fullerton. With them. I’ll send her. (Crosses 
R.) Will you come and meet Mr. Vavin? (To 
Graham.) 

Graham. (Crosses to r.) Yes. 

Fullerton. Mr. Holcomb? 

Mrs. Winthrop. Leave Mr. Holcomb with us. 

Fullerton. (Going) Certainly. 

Graham. My French is rotten. (Exit with Ful- 
lerton. ) 

Mrs. Winthrop. (Sits on soft) When is your 
play coming out, Mr. Holcomb? 

Holcomb. (Sits r.) We begin rehearsals in New 
York to-morrow. 

Mrs. Winthrop. It is quite necessary to have 
our little girl in it ? ( Puts hand on Dora.J 

Holcomb. Well, I wrote the part for her. 

Mrs. Winthrop. Still some other girl could play 
it, I suppose? 

Dora. (On sofa r. beside Mrs. Winthrop 
Laughing) No! 

Holcomb. It’s a peculiar part. 

Mrs. Winthrop. In what way? 

Holcomb. I’ve laid considerable stress on the 
personal appearance of the girl — qualities it might 
embarrass Miss Fullerton to have discussed. 

Dora. (Laughing) I think I like it. 

Mrs. Winthrop. Have you any sisters, Mr. 
Holcomb ? 

Holcomb. None. 

Mrs. Winthrop. That’s unfortunate. 

Holcomb. Yes. 

Mrs. Winthrop. A man who hasn’t a sister 
doesn’t know the safeguards that should be around 
a girl. 

Dora. (Rises. Holcomb rises) I was two weeks 
with that repertoire company, Mrs. Winthrop, when 
I wasn’t fifteen. 


i6 


THE HARVEST MOON 


Mrs. Winthrop. Well? 

Dora. Mr. Holcomb stood between me and — 
and a great many annoyances. 

Mrs. Winthrop. I’m not suggesting that a man 
can’t be a gentleman, because he hasn’t a sister. . . . 
(To Holcomb.,) and I hope you don’t misunder- 
stand me. 

Holcomb. I should be sorry to do so. 

Mrs. Winthrop. Now the theatre, of course — 
it’s a career for a girl with great ability, and if she’s 
obliged to adopt it. 

Holcomb. I must ask Miss Fullerton’s friends 
not to misunderstand my position. 

Dora. (Down l.) They don’t. They’ve known 
for years that I meant to try it, and that I’ve worried 
you constantly to get me a chance. 

Holcomb. And it seemed to me that a part which 
considered Miss Fullerton’s temperament — her limi- 
tations, if you will . . . (Turns to DoraJ as well 
as her marketable qualities . . . 

Mrs. Winthrop. Marketable qualities ! (Rises.) 
What an expression applied to a girl. 

Holcomb. Doesn’t Rosalind say to Phoebe, 
“You’re not for all markets?” (Front to soft.) 

Mrs. Winthrop. (Head of table, back of sofa) 
Whatever Rosalind said to any lady is well to for- 
get — shameless creature going about like an adver- 
tisement for sanitary woolens. (Walks.) My child, 
this is madness, believe me. 

(Enter Judge Elliott and Cornelia; go up l. 

Elliott is New York club type , aged about 

fifty-) 

Judge. Good-evening, lady. 

Mrs. Winthrop. Good-evening, Judge. 

Judge. Mr. Holcomb. (Shakes hands . Crosse# 
to l. ) Glad to see you again. 


THE HARVEST MOON 


1 7 


Holcomb, (l.) Thank you. 

Judge, (l.c.) Left my host and his guests and 
left a fat cigar burning in there on the table just 
to . . . 

Cornelia. (Up l. Anxiously) On the table? 

Judge. (Mock weariness) In a saucer, Cor- 
nelia. . . . 

Cornelia. Oh! (Dora on settee l.) 

Judge. (To Mrs. WinthropJ Just to run in and 
say howdy. 

Mrs. Winthrop. And run back before it goes 
out. 

Judge, (c.) Oh, yes! A cigar is like love — 
hopeless after it once goes out. 

Mrs. Winthrop. Did you tell that to your sec- 
ond wife? 

Judge. Second wife comes under the head of 
fresh cigar. 

Cornelia. And of equal importance. 

Judge. If you girls mean to abuse me I’ll go 
back now. ( Crosses to r.J 

Mrs. Winthrop. We’re affecting an interest in 
you, Judge. 

Judge. An interest? Complete control! Why 
don’t you come in and sit with us and be a good 
fellow ? 

Mrs. Winthrop. You’d never stop smoking if 
we encourage you. 

Judge. Fullerton’s got the nicest old Frenchman 
in there you ever saw. He's a widower, too. 

Cornelia. Nothing nice about him. 

Judge. Well, I never dispute with an expert. 

Dora. Aunt Cornelia doesn’t know him, but he 
was with papa and me nearly all the time we were 
in Paris. He’s a perfect dear, Mrs. Winthrop. 
("Dora crosses Holcomb over l.J 

Judge. There! 


i8 


THE HARVEST MOON 


Mrs. Winthrop. I’ll wait, thank you. 

Judge. ( Sits on sofa with Mrs. WinthropJ 
Then there’ll be competition. (Indicates Dora and 
Cornelia. ) Come — we fish that you’ve strung and 
hung over the side of the boat want to see you land 
another. 

Cornelia. A smoked one. 

Judge. Cornelia’s jealous. She angled for him 
all through the dinner. 

Cornelia. Angled ? 

Judge. Did I say angled? I meant harpooned. 
He’s a whale, Mrs. Winthrop. 

(Enter Henri r.J 

Henri. (To Cornelia J Pardon, Madame — 
James — the butler . . . 

Cornelia. Yes? What of him? 

Henri. ’Es cut ’es hand — a soda water bottle 
explodes. 

Cornelia. Tell him to ’phone the doctor. 

Henri. Yes, Madame. (Exit.) 

Mrs. Winthrop. (Indicates Henri ) A new 
servant ? 

Cornelia, (c.) That’s a man Monsieur Vavin 
brought with him. 

Dora. He said James cut his hand. 

Cornelia. Yes — a soda bottle. 

Dora. Someone should see him. 

Cornelia. I’ll attend to it. But I can’t see why 
the doctor isn’t enough. 

Judge. (Over r.) Poor James — that was your 
fault, cutting his hand. 

Mrs. Winthrop. My fault? 

Judge. Yes. I was so agitated when I heard 
you were here that I asked for the Scotch and soda, 
and now I’m going to get it. (Exit r.) 


THE HARVEST MOON 


19 

Mrs. Winthrop. (To HolcombJ You’re 
acquainted with Judge Elliott? 

Holcomb. Yes. 

Dora. (To Mrs. Winthrop. Comes in front of 
sofa) I told you! Mr. Holcomb was a member of 
that company I joined. 

Mrs. Winthrop. Of course. It was Judge El- 
liott who . . . 

Dora. (Pause) Brought me home. 

Mrs. Winthrop. (To Dora,) So you’ve been 
acquainted some time? 

Dora. Nearly four years. 

Mrs. Winthrop. Then you’re an actor, Mr. Hol- 
comb? 

(Enter Cornelia r.J 

Holcomb. A few seasons — technique — for writ- 
ing. 

Dora. Well? 

Cornelia. (Going up) Well, what? 

Dora. James. 

Cornelia. Nothing serious. He’s all right till 
the doctor comes. (Sits at desk) 

Mrs. Winthrop. Of course, if you’re an actor 
yourself, Mr. Holcomb, you don’t see the gravity 
of what you’re asking this young lady to do. 

Dora. (Sits sofa) I appreciate its gravity. 

Mrs. Winthrop. The theatre is a life long blight 
upon any woman that goes into it professionally. 

Dora. I was in it professionally — two weeks. 

Mrs. Winthrop. A mere childish escapade. You 
were not really in it. 

Dora. Twelve one night towns. 

Mrs. Winthrop. You were one of a number of 
little girls in short dresses. (To Holcomb.,) Now 
she’s been abroad- — had three years in Paris. And 


20 


THE HARVEST MOON 


this regularly joining a company in New York — 
rehearsing — playing there — quite another matter. 

Dora. It’s a splendid part, Mrs. Winthrop. Mr. 
Holcomb has written it specially for me — and I’m 
going under his protection. 

Mrs. Winthrop. My dear child — an author’s 
protection is just as dangerous as the protection of 
any other gentleman. 

Holcomb. Some ladies have survived it, haven’t 
they? 

Mrs. Winthrop. Not socially. (To Dora.J I 
can’t understand why you do it. 

Dora. (Rises — fire) I suppose it’s inherited, 
Mrs. Winthrop. Aunt Cornelia says it is. 

Mrs. Winthrop. Your mother wasn’t an ac- 
tress? 

Dora. She studied for the opera. 

Mrs. Winthrop. (Looking to Cornelia,) But 
never joined it. 

Cornelia. ( c.) Oh, no ; but she would have 
joined it if she’d lived. The girl’s right, Mrs. Win- 
throp — she does inherit it. The same foolish talk 
about expression — wanting to live her life . . . 

Mrs. Winthrop. But a woman finds expression 
in her home, Dora. ... ("Dora shakes her head.) 
Her husband’s home. 

Dora. I can’t talk about it any more, Mrs. Win- 
throp. 

Cornelia. That’s as good as telling everybody 
to shut up — isn’t it? I know that’s inherited. 

Dora. (Warning) Aunt Cornelia — the gentle- 
men. 

(Enter Fullerton and Vavin, followed by Judge 
and Graham. Vavin is distinguished gray- 
haired, moustached Frenchman. Legion d’Hon- 
neur button. 


THE HARVEST MOON 


21 


Fullerton. Mrs. Winthrop, may I present Mon- 
sieur Vavin? (Crosses back of sofa to L.) 

Mrs. Winthrop. Monsieur Vavin. 

Vavin. Madame. 

Mrs. Winthrop. (Offering hand) I’m very 
pleased to meet you, Monsieur. 

Vavin. (Indicates Graham, who is down r.J I 
have just had the honor of a cup of coffee with 
Monsieur, your husband, and . . . 

Mrs. Winthrop. It would be interesting to know 
the temperature. 

Vavin. Pardon ? 

Judge. This is Mrs. Winthrop’s son. 

Vavin. Her son? ('Graham to fire.) 

Mrs. Winthrop. My husband has been dead 
fifteen years. 

Vavin. Poor gentleman! 

Fullerton. (With Holcomb, c.) Let me intro- 
duce Mr. Holcomb. 

Vavin. (Greeting him) Mr. Holcomb. 

Holcomb, (l. Giving hand) A great honor, 
Monsieur. 

Vavin. (l.c.) Professor Fullerton tells me to- 
night you are dramatic author? 

Holcomb, (l.) My first four act play. 

Vavin. Also I — write for the theatre. 

Holcomb. (With appreciation) I know — and 
your books . . . 

Vavin. Translations? 

Holcomb. Translations — yes. ('Vavin shrugs.) 

Mrs. Winthrop. (With book) This is an orig- 
inal, Monsieur Vavin. ('Dora comes over l. below 
table.) 

Vavin. (With book) On your table? (To Ful- 
lerton.J A compliment. 

Mrs. Winthrop. I brought it. I hoped you 


22 


THE HARVEST MOON 


would be good enough to inscribe it. (Rises.) 

Vavin. With great pleasure. 

Mrs. Winthrop. (To Fullerton,) Did you see 
the dedication? 

Fullerton. (Comes down, shaking head) What 
is it? 

Mrs. Winthrop. “To my daughter when she is 
twenty.” 

Fullerton. (l.c.) To his daughter — why, I 
never heard you speak of a daughter, Monsieur. 

Vavin. (Up at desk) One writes something, 
you see. ... (To Mrs. Winthrop .) That line 
was a caution to all young women not to read the 
book until they were twenty. 

Judge, (r. by fireplace) But surely to read it 
when they were twenty? 

Vavin. Exactly. (Sits at desk.) 

Judge. So the married ladies read it with audac- 
ity? 

Mrs. Winthrop. And the young ladies read it 
with . . . 

Vavin. With discretion. ('Fullerton up at 
bookcase.) 

Judge. And the sales are krge? (Goes to door.) 

Vavin. (Smiling) Very large. My eye glasses 
— I have left them. 

Dora. (Starts to c.) Can I get them? 

Vavin. No, please. 

Cornelia. (Goes r.) Where are they? 

Vavin. (To Cornelia, who has started to go) 
If Henri will bring them — he knows. 

Judge. (At door back) I think you should all 
see the wonderful moon just rising. 

Dora. It was beautiful last night. (Starts to go 
up c.) 

Mrs. Winthrop. Yes, let us look at it. (Goes 
up.) 


THE HARVEST MOON 


23 

Fullerton. ( Going out back) Monsieur Vavin? 

(The moonlight comes from l., and does not strike 
characters until well out of doors.) 

Vavin. (c. to Fullerton and detaining DoraJ 
In one minute, Professor. (To DoraJ It is a 
great pleasure to an old man, cherie, to see your 
bright face again. You have grown a fine lady in 
three years. 

Dora. ( l.c.) It’s good to see you again, too. 

Vavin. (c.) You remember the day in the 
school — in Paris . . . (Takes hands.) when I first 
came to talk to the girls? 

Dora. I should say I did. 

Vavin. With your wide open eyes. It was hard 
to understand the French then, eh? 

Dora. You spoke so rapidly at first. 

Vavin. Not after the instructrice tells me “that 
is a little Americaine” — that girl I ask about. Now 
quickly, my dear — this young man — he is . . . ? 

Dora. Mr. Holcomb. 

Vavin. Yes, yes — but you . . . ? 

Dora. You mean . . . ? 

Vavin. Besides business — there is sentiment. 
(Puts hand on heart.) Yes? 

Dora. Who told you that? 

Vavin. Nobody. But — we shall have a little 
tete-a-tete to-night — you and I. 

Dora. (Impulsively) You’ll help me, won’t you? 

Vavin. (Pause) Everything! 

(Enter Henri r.J 

Dora. I’ll simply die if they keep me here. 

Vavin. (Seeing Henri. Pause) Go look at 
the moon! (Dora goes up. Pause.) Well, Henri? 


24 


THE HARVEST MOON 


Henri. The glasses of Monsieur. 

Vavin. (Taking glasses and looking after DoraJ 
She is very like her mother, Henri ? 

Henri. Very like her mother, Monsieur. 

Vavin. You find no resemblance to me? 

Henri. A little, Monsieur, but most the mother. 

Vavin. (Down r.c. Pause and sigh) Tell the 
chauffeur to keep his car ready ! 

Henri. Oui, Monsieur. 

Vavin. (Watches c. door) It is possible that 
later we — we may be de trop, Henri. 

Henri. Oui, Monsieur. (Wavin nods. Henri 
exit r. Enter Mrs. Winthrop c.) 

Mrs. Winthrop. (Comes down) Doesn’t the 
moon interest you, Monsieur ? 

Vavin. (Turns, goes up c.) More than I dare 
tell you. I will look at it. 

Mrs. Winthrop. But sign my book first! ( Gets 
book off desk , gives it to Vavin.) 

Vavin. (Up at desk) Yes. 

Mrs. Winthrop. (l.c.) Pm going home — the 
moon will be there a long while. 

Vavin. (Sits to write) A long while — the moon 
— yes. But think, dear lady, if God gave such en- 
durance to woman. (Writes.) 

Mrs. Winthrop. Perhaps he might if man would 
have been content merely looking at her. 

Vavin. Yes? Well, I am not yet old enough to 
make such a promise. (Writes again.) 

(Enter Graham back.) 

Graham. fu.L.J Ready to go, Mother? 

Mrs. Winthrop. (c.) Mother! What could 
even the moon do with a great thing like this calling 
her mother. 

Vavin. (Rises, comes down r.) Only go to con- 
fession. (Hands book.) 


THE HARVEST MOON 25 

Mrs. Winthrop. (Passing book) What has he 
written ? 

Graham. (Reading) “Of all heavenly bodies 
1 most envy Jupiter.” 

Vavin. He has five moons. 

Mrs. Winthrop. Sounds recklessly plural. 

Vavin. Only to look at. (Front of sofa.) 

Mrs. Winthrop. Good-night. 

Vavin. (Smiling) Good-night, Madam. Some 
time I hope when you have not to take your child 
home — I don’t know what parents are coming to. 

(Enter Dora and Holcomb. Cornelia follows.) 

Dora. Must you go, Mrs. Winthrop? 

('Vavin and Graham exeunt at back.) 

Mrs. Winthrop. (Up c. door) Yes, my dear — 
there is a judicial atmosphere — a little nipping. 
Good-night. (To Cornelia .) It will be all right. 
Dora’s too sensible not to know her friends. (To 
Holcomb.J I hope your play succeeds, however. 

Holcomb. ( Over r.) Thank you. 

Cornelia. I shall see you to-morrow, Mrs. Win- 
throp ? 

Mrs. Winthrop. Indeed you will, my dear, es- 
pecially if you need me. (She and Cornelia fol- 
low Graham, who has gone out back.) 

Holcomb. (Closing door) I’ll close it a minute. 

Dora, (c.) I don’t think you better. ^Holcomb 
takes her in his arms and kisses her.) Be careful. 
(Both come down front of sofa.) 

Holcomb. (Looks about) I’m willing to be 
caught at it. 

Dora. Papa said he withheld his consent. 

Holcomb. If I can hold you, Papa can do any- 
thing he wants to with his consent. 


26 


THE HARVEST MOON 


Dora. ( Sits sofa r.) My mother married with- 
out her parents’ permission and 

Holcomb. (Sits on sofa l.) Marriage is a very 
personal matter. 

Dora. It’s so hard to explain to parents, isn’t it ? 

Holcomb. How did you come to tell him? 

Dora. I wanted Papa to know I’d have your 
protection on the road. 

Holcomb. You heard Mrs. Winthrop about that? 
( Smiles.) 

Dora. But she doesn’t know we’re engaged. 

Holcomb. Still she’s right from her standpoint. 

Dora. You don’t want me with some other 
author, do you? 

Holcomb. (Smiling) No. 

Dora. Then don’t pretend you’re affected by 
what she says. 

Holcomb. Doesn’t it affect you? 

Dora. No. 

Holcomb. Are you doing this because you really 
wish to act or because the play is by me ? 

Dora. That old repertoire wasn’t by you. 

Holcomb. (Smiling) No. Thank God! (Un- 
der breath.) 

Dora. And I didn’t know you until I joined the 
company. 

Holcomb. True. 

Dora. (Pause) I went with them because there 
was a chance — because it was near the end of school 
— because I couldn’t think of coming back to a life 
in this place. 

Holcomb. One of the most beautiful towns in 
America. 

Dora. I mean this house. 

Holcomb. One of the prettiest houses 

Dora. I really mean Aunt Cornelia. 

Holcomb. Oh! (Pause.) 


THE HARVEST MOON 


27 

Dora. I was perfectly happy in Paris. If Papa 
would have had a life-long professorship there I 
shouldn’t have thought of the theatre. 

Holcomb. Aren’t you deceiving yourself, Dora? 

Dora. Deceiving myself ? 

Holcomb. Every letter to me while you were in 
Paris was about the theatre. 

Dora. I knew I was coming back to Aunt Cor- 
nelia. ( Rises.) 

Holcomb. ( Coming to her with meaning ) You 
won’t have to go on the stage, to get away from 
your Aunt Cornelia. 

Dora. Don’t you want me to play this part? 

Holcomb. Very much, but not because the thea- 
tre is an escape. 

Dora. I don’t want to be ungrateful to Aunt 
Cornelia. Perhaps I haven’t understood her any 
more than she’s understood me. (Pause.) You 
think I can act — don’t you? If you teach me? 

Holcomb. I’m sure of it. 

Dora. That’s what you said that night Miss Met- 
calfe was ill and I had a chance to speak her lines. 

Holcomb. Yes. 

Dora. Nothing made me do it but just your 
saying : “Pm sure you can.” 

Holcomb. (Takes her hands) I’m sure you’re 
going to make a hit in this whether my play goes 
or not. 

Dora. Suppose I don’t succeed. Will it change 
your feeling toward me? 

Holcomb. Make me more careful of you 

Dora. Are you sure? 

Holcomb. (Smiles) We’ll get married first, if 
you want a guaranty. 

Dora. No — if I’m a failure — I want you to be 

perfectly (Crosses to r. Pause.) Well — let’s 

think it over. 


28 


THE HARVEST MOON 


Holcomb. (Laughing) Wait for a dress re- 
hearsal anyway. 

(Enter Fullerton and Vavin. Holcomb crosses 
down to l. corner.) 

Vavin. Very young to be his mother. 

Fullerton. Yes. (Calls) You’re coming in, 
Judge. 

Judge. (Outside) Immediately. (Appears with 
Cornelia. ) 

Fullerton, (c.l. coming down) Mr. Holcomb, 
it is very good of you to take this long trip at my 
request. 

Holcomb. (Deferring to Vavin — then DoraJ 
The effort is already repaid, Professor. 

Cornelia, (l. coming down) Can’t you find 
seats ? 

Dora. (Pretended aside to Vavin ) I’m not sure 
I want to stay. 

Vavin. (r. Intimately to Dora at Club squat) 
Let us sit on this fence. (Down r. sits.) 

Dora. Yes. 

Fullerton. (Up c.) You know Judge Elliott’s 
relation to my family, Mr. Holcomb, both as friend 
and attorney? 

Holcomb. (Tentatively) Yes, sir. 

Fullerton. (At sofa l. corner) It seems my 
daughter has signed a contract with you. 

Holcomb, (l.c. nodding) With the manage- 
ment. 

Fullerton. To appear in your play? (Hol- 
comb nods.) 

Dora. (At fireplace, rising) It’s getting just 
like a court house — I know I’m not going to like it — 
mayn’t I leave you gentlemen, Judge? 

Judge. (At desk up c. Rising) It’s your deci- 
sion, Dora, that your father hopes to win. 


THE HARVEST MOON 


29 

Fullerton. (Comes down c.) Mr. Holcomb 
has come from New York — Monsieur Vavin has set 
aside more agreeable things in order to advise us — 
and Judge Elliott 

Dora. ( r. takes Vavin’s arm) I know what Mr. 
Holcomb thinks— and I’d rather talk with Monsieur 
Vavin alone. We’ll come in when it’s all over. 
(Starts up stage. To Elliott. ) Please. 

Judge. ( r. to Fullerton ) Won’t it be simpler? 

Fullerton, (l. of sofa. Excusing her) Very 
well, then — you know my views on the subject. 

Vavin. Perfectly. 

Dora. (To Vavin) I’ll tell you mine (Exit 

with Vavin c.) 

Cornelia. Would you rather I left, Judge? 

f J udge defers to Fullerton. Fullerton sits on 
sofa l. end.) 

Fullerton. (To Elliott J Not unless you wish 
it. 

Judge. (Signals to Cornelia. Cornelia sits) 
Under our Massachusetts law, Mr. Holcomb, a 
woman isn’t competent to make a business contract 
before she is twenty-one. (^Holcomb nods.) Your 
management can’t hold Mr. Fullerton’s daughter to 
that contract. 

Holcomb, (l. below Judge ) A management 
can’t hold anybody’s daughter if she wishes to leave. 

Judge. I merely submit that you have a good 
excuse to give in explanation of Miss Fullerton’s 
withdrawal — her father objects. 

Holcomb. Has Miss Fullerton withdrawn? 

Fullerton. We are trying to persuade her. 

Holcomb. On what did you wish my advice? 

Cornelia. (Savagely — rises ) My brother felt 
that when you saw how unanimous the family 
was 


30 


THE HARVEST MOON 


Fullerton. One moment, Cornelia. 

Judge. It’s difficult to understand a manager 
wanting a young lady whose family objects. 

Holcomb. I don’t think the management knows. 

Judge. Do you suggest that if they did know, 
they’d cancel the contract ? 

Holcomb. Most likely consult me. 

Judge. Well, then, Mr. Holcomb, this all comes 
back to you. I should think you wouldn’t want a 
young lady in a play if her family objected. 

Holcomb. I’ll not urge her to go. (Rises.) 

Fullerton. Thank you. 

Holcomb. But on the other hand, I shan’t advise 
her not to go. 

Cornelia. (Rises) You mean that you’ll see a 
whole family made miserable 

Fullerton. One moment, Cornelia. 

Judge. (Rises) You mean, Mr. Holcomb, that 
our wishes are a matter of indifference? 

Holcomb. The family’s wishes are of so much 
importance that I decline to advise either way. Miss 
Fullerton is a very unusual type — her withdrawal 
would mean finding another lady almost her coun- 
terpart. I go as far as you can expect me when I 
say I shall be neutral 

Cornelia. You know one word from you would 
stop it. 

Judge. That’s a fact, isn’t it, Mr. Holcomb? 

Holcomb. If the Judge informs me correctly 
— one word from you would stop it. 

Fullerton. Do you ask us to take legal meas- 
ures to restrain my daughter? 

Holcomb. (l.c.) You knew I was writing this 
play. 

Fullerton. Yes. 

Holcomb. With Dora in view for the principal 
part? 


THE HARVEST MOON 


3i 


Fullerton. Yes. 

Holcomb. Why didn’t you object earlier? 

Fullerton. My knowledge of her nature made 
me wish to avoid opposition. I suppose you could 
easily get someone else. (To c.l. end of sofa.) 

Cornelia. She knew the opposition very well — 
I told her. 

Holcomb. I had no hint of it. 

Cornelia. (Rises — fire) No — she’s too sly for 
that — she wouldn’t 

Fullerton. (Front of sofa) Cornelia. 

Holcomb. (l.c.) Now to answer your question, 
professor. I hope that you won't take legal meas- 
ures of restraint. 

Cornelia. I can’t see how that’s any affair of 
yours. 

Holcomb. My position more concisely than I 
dared put it. 

Judge. (Down c.) You positively decline to 
advise the young lady against this step, do you? 

Holcomb. I decline to advise her at all. 

Fullerton. I hoped for a different answer, Mr. 
Holcomb ; but I appreciate your frankness. 

Holcomb. If Miss Fullerton doesn’t take this 
part, it is my belief she will soon take some other 
not so good. 

Cornelia. I agree with you. _ 

Holcomb. If that’s all, Professor (Defers 

to Fullerton . ) 

Fullerton. Good-night, Mr. Holcomb. 

Holcomb. Will you — or perhaps more agreeably, 
Judge Elliott— telephone me of any decision to- 
night ? 

Judge. Hotel? 

Holcomb. The Aspinwall — yes. ( Starts up c.) 
May I say good-night to Miss Dora? 


32 


THE HARVEST MOON 


Fullerton, (c. front of sofa) Wouldn’t your 
neutrality be more evident if you let me do that? 

Holcomb. As you please. (Crosses at back to 

r.; 

Fullerton. (Goes up c.) Thank you. 

Cornelia. I’ll show you out — our man has cut 
his hand. 

(^Holcomb exit with Cornelia.} 

'Judge. I can’t help liking the fellow. (Crosses 

R.} 

Fullerton. It’s easy to understand his influence 
over Dora. ( Goes back up c.) 

Judge. I think the influence — works both ways. 

Fullerton. (At door, calls:) Dora! 

Dora. (Off) Yes? 

Fullerton. (Coming down, goes l.c.} I’ve 
hope in what Vavin will tell her. 

Judge. I, too. She plainly admires him. 

Fullerton. ( Over l.} He was very kind to her 
in Paris. 


(Enter Dora and Vavin.} 

Vavin. (c.) I shall close the door? 

Fullerton. Please. 

Dora. ( Coming down to Fullerton, l.} Where 
is Mr. Holcomb? 

Fullerton. He asked me to say good-night. 
(Takes Dora’s hand. Enter Cornelia. Dora is 
anxious. Pause.) Mr. Holcomb puts the burden of 
any decision upon us. 

Dora. You mean ? 

Fullerton. He declines to advise you. 

Dora. Did you ask him to advise me? 

Fullerton. Yes. 


THE HARVEST MOON 


33 


Dora. Whatever he thought best? 

Fullerton. To stay at home. 

Dora. (To c. to Judge,) Oh — he refused? 

Judge. He also refused to advise you to go. 

Cornelia. ( Over r.) So if you do go, it will be 
pure willfulness. 

Dora. (From sofa — pause — to VavinJ Do you 
think it’s pure willfulness? 

Vavin. (l.c.) Not that — no — but (Pause.) 

Well, I will listen. 

Fullerton. I hope you will also advise, Mon- 
sieur. 

Vavin. Thank you. ( Crosses r.c.) 

Fullerton. ( c . to Dora,) Monsieur Vavin has 
grown gray in the theatre, my dear — Mr. Holcomb 
is only a beginner. 

Dora, (l.) Eight years 

Fullerton. Of study principally. (To Vavin . ) 
Your professional experience covers how many 
years ? 

Vavin. (r.c.) Oh — thirty-five. 

Fullerton. (To Dora) Think of it — thirty- 
five years in the theatre. (To Vavin J You know 
its hardships, heartaches, trials, its temptations. 
(Vavin bows. Fullerton looks convincingly to 
Dora.,) 

Dora. (Front of sofa) I’d like Monsieur Va- 
vin’s advice — yes. 

Fullerton. (To VavinJ There! 

Dora. (To Vavin ) What do you advise? 

Vavin. (Cautiously) It is not so simple. 

Cornelia, (r.) It's either right or wrong, isn't 
it? 

Vavin. I — I am an individualist (Pause.) 

The professor understands me, I am sure. (Dora 
sits sofa.) 

Judge. I think we're all agreed, Monsieur. - The 


34 THE HARVEST MOON 

young lady’s personal welfare is the sole considera- 
tion. 

Cornelia. Her mother’s personal welfare was 
the sole consideration when you let her fly off the 
handle. 

Fullerton, (c.) If Dora decides to stay at 
home it won’t be too late to adopt the stage in two — 
three — four years from now. 

Dora. (Desperately) Four years of this! 

Cornelia. ( Severely ) But you’re an ungrateful 
piece. 

Vavin. That is not the best way. 

Fullerton. (Goes up c. around table) You 
don’t help us any, Cornelia. 

Cornelia. Thank you — perhaps you’ll be good 
enough to call me when there’s some work common 
enough for my intelligence. (Exit r., leaving door 
open.) 

Fullerton. (Crosses to r. calling:) Cornelia! 
('Dora sits.) 

Vavin. (To Fullerton and meaning Cornelia) 

Perhaps — your ( Crosses to Judge to l. Pause') 

Perhaps the conditions here are antagonistic. Some- 
times a change is really better. 

Fullerton. You mean my sister? (To Dora.) 
Antagonistic ? 

Dora. If I stay here I don’t know what may 
happen. 

Fullerton. Happen? Here? What could hap- 
pen? 

Dora. I don’t know — Aunt Cornelia says my 
mother always did contrary things. 

Fullerton. I’ve asked your Aunt Cornelia not 
to talk that way. 

Dora. I don’t think I’d be half as likely to do 
anything wrong where I was on my own responsi- 


THE HARVEST MOON 35 

bility and could forget that my mother had been 
unhappy. 

Fullerton. ( Goes back to end of sofa r. Vavin 
goes up stage c.) Whatever unhappiness your mo- 
ther had, my dear — came from — well, would have 
been avoided if she had been — content at home. 

Dora. Was Aunt Cornelia here then? 

Fullerton. She was, and we’re greatly indebted 
to your Aunt Cornelia. 

Dora. Let me think about it until morning? 
( Rises.) 

Fullerton. I want Monsieur Vavin to talk with 
you to-night. 

Dora. (Turns to Vavin,) I’ve told you all I 
can. (To Fullerton.,) If he doesn’t agree with 
me — and Mr. Holcomb leaves it all to me — I’ll do 
whatever Monsieur Vavin advises. ( Goes to Ful- 
lerton r.cJ 

Fullerton. (Taking her hands ) That’s more 
like my little Dora. 

Dora. That’s all, isn’t it ? ( Crosses to l.) 

Fullerton. (Shaking head) Only his decision. 

Judge. (Crosses to Dora) The sun will shine 
to-morrow and we’ll all wonder what this little 
tempest was all about. 

Dora. (To VavinJ I shan’t really change my 
mind, you know. 

Vavin. I have too many women in my plays to 
think so. (Exit Dora.,) 

Fullerton. (Front of sofa. To Vavin ) Your 
visit to America at this time is providential, (l.) 

("Judge sits.) 

Vavin. (c.) The daughter has said only she 
will follow my advice. 

Judge. What more can we ask ? 


THE HARVEST MOON 


36 


Vavin. ( c .) Because she feels I am sympathetic. 

Fullerton. ('rJ We’ve all been sympathetic. 

Vavin. All affectionate — but sympathetic to her 
mood? Do you put yourself inside of a young girl’s 
mind ? Are you again young yourselves ? With the 
wide world a wonder book ? 

Judge. You sympathize with this erratic desire? 

Vavin. Erratic for a Judge? — yes. Erratic for 
a Professor — erratic maybe for an author with gray 
moustache, but for a young girl with — beauty — 
with a heart — with imagination — is it? (Sits sofa.) 

Fullerton. You encourage it? 

Vavin. I don’t know — what is better? 

Judge. You see in America, Monsieur, persons 
in the theatre haven’t the social recognition they get 
in your country. 

Vavin. It is easy to be mistaken about that. 

Fullerton. When I telegraphed you, Monsieur, 
and also in our talk over the long distance ’phone I 
hope I indicated the advice I thought you would 
give the girl. 

Vavin. (Assenting) Also in the few words over 
the coffee. 

Judge. Exactly. 

Vavin. And I have not advised her. I am first 
to hear you. 

Judge. What can we tell you that — a man of the 
world doesn’t know? In America the woman who 
goes on the stage closes the door of social opportun- 
ity — 

Vavin. Is it open — otherwise — this door of social 
opportunity ? 

Judge. Quite. We haven’t the American dollar 
standard in New England. A professorship in 
Harvard is a distinction — the name “Fullerton” 

Vavin.. (Rises, goes r.J Oh — the name has 

applause in France. (Points to Fullerton. ) That 


THE HARVEST MOON 


37 


is the ribbon of our Legion d’Honeur — I know — 
but for the girl? Her future ? Here ? 

Fullerton. Here in the summer. In winter we 
are in Cambridge. 

Judge. Practically Boston! 

Vavin. 'M-m-m. 

Fullerton. An interesting circle of eligible 
young men. 

Vavin. But what work? What expression? 

Here is temperament of the artiste — also 

(Pause. Back of sofa r.) this fear. 

Fullerton. Fear? 

Vavin. Somebody tells her the mother has been 
eccentrique. 

Fullerton. (To Judge; Cornelia talks too 
much. 

Judge. ( On settee) It occurred to me Cornelia's 
method was bad. (Fullerton crosses to r.; 

Vavin. (Comes down l.c.; And so I — I am 
sympathetic. 

Fullerton. (Closing door r.) I’ll close these 
doors. 

Judge. (Anxious) Did Cornelia hear me? 

Vavin. (Smiling to Judge; You are a little 
afraid, too. 

Fullerton. (Returning) Monsieur! (Crosses 
to c. up above sofa.) 

Vavin. Professor? 

Fullerton. Although Judge Elliott has retired 
from practice he is kind enough to still direct such 
legal business as I have. 

Vavin. I hope you will not invoke the law for 
your daughter. (Sits R. of table lJ 

Fullerton. (Shaking head) Another matter — 
(Indicates surroundings.) The money that enables 
us to live here — a professorship wouldn't — (Vavin 
bows.) Is the interest upon a fund in trust — 


THE HARVEST MOON 


38 

(Pause.) I mention this because if the property 
were my own, the first thought in this situation 
would not be of that, but I must protect what I hold 
only in trust — (Vavin bows.) — and Judge, a thing 
I am therefore now forced to tell you — I think Mon- 
sieur Vavin should also hear — (To Vavin.J And 
in confidence — (Pause. Vavin assents.) Dora 
is not my daughter ! 

Judge. (On settee — movement) Not your 

daughter ? 

Fullerton. (Shaking head) Dora was born in 
France — a year after her mother divorced me and 
more than two years after the mother left me to 
study there. 

Judge. The mother was (Pause.) That 

is (Pause.) You know the father ? (Fuller- 

ton shakes head.) 

Vavin. (Pause) The young lady believes — - — 

Fullerton. That I am her father. 

Judge. (Astonished) I’d never dreamed it. 

Fullerton. Those were the two years you were 
so much in Mexico. 

Judge. Of course., 

Fullerton. What should be done about that — 
in a will? 

Judge. If Dora is not your daughter, there’s no 
occasion to mention her. 

Fullerton. I’d like to make some provision for 
her 

Judge. Under the terms of this trust you can’t. 

Fullerton. I can’t. 

Judge. (Shaking head) You may use it — proper 
heirs inherit its use, but you can’t divert it. 

Fullerton. Until now the only person besides 
myself who knew what I’ve just told you men has 
been my sister. 

Judge. Cornelia knows it? ('Fullerton nods.) 


THE HARVEST MOON 


39 

Vavin. (Rises) Do you mind if I light a cigar- 
ette? 

Fullertonn. Please do. If I were to die sud- 
denly — Cornelia's statement of this would be set 
down as invention. 

Judge. Unless corroborated. Are there papers 
to establish it? 

Fullerton. No. 

Judge. You could get them. ("Fullerton shakes 
head “No”) The vital records of France are the 
most minute, most accurate in the world. 

Fullerton. The records report the mother as 
Madam Fullerton. 

Judge. Oh. 

Vavin. (Pause) I should be very slow to be- 
lieve that the mother of that beautiful girl was not 
a good woman. 

Fullerton. I never doubted it, — (Above couch) 
— she left a letter, Judge, that may be some evidence. 
( Goes to drawer and locks box.) 

Judge. You have it? 

Fullerton. (Getting letter) You know the vil- 
lage of Montigny, Monsieur? 

Vavin. In France there are several villages 
named Montigny. 

Fullerton. Near Fontainbleau ? 

Vavin. (Nods) Montigny-sur-Loing. 

Fullerton. She died there. Some scoundrel 
deceived her into believing she was his wife. (To 
Judge. ) This letter was to her people — the Car- 
rolls. (Reads from letter.) She asked them to take 
the baby and to give it their name. ( Gives letter to 
Judge. ) You see, Monsieur, nearly nineteen years 
ago — I — I was still young enough to be overcome by 
sentiment. The woman that I loved was — (Pause.) 
— was gone. Friends had cabled me, but my steamer 


40 


THE HARVEST MOON 


was almost a week too late (Pause.) And a 

baby girl in an Asylum was — all there was. 

Judge. (Pauses— speaks quietly) The thing to 
do with this letter is to establish it as her hand. 
You have other examples of her writing? 

Fullerton. (Nodding) Yes. 

Judge. And attach a certified statement of the 
facts. 

Fullerton. (To front of sofa) Persons who 
knew the mother, Monsieur, are startled — actually 

startled — by (^Fullerton looks towards door 

r.) Dora's likeness to her. 

Vavin. My dear Professor — (Pause.) — your 
sentiment is easy to understand. 

Fullerton. If one may speak of her faults — 
her fault — it was impulsiveness. Her marriage to 
me was an elopement — then there in Lenox they 
flattered her — and — she could sing, Judge. 

Judge. (Affirming) Professional ability. 

Fullerton. I consented — reluctantly — to her 
studying in Paris — another mistake on my part. 
( Going up slowly.) Recollections of this place — 
(Turns.) — of Cambridge — mere books — and on the 
other hand, Paris — the Boulevards — the music — the 
color. I never blamed her. (Pause.) When she 
asked her freedom — it — it — hurt, but in my place? 
And after all, when a woman's heart once quits 
you (Extends his hand helplessly.) 

Vavin. (Pause) You took the little girl baby to 
her people? 

Fullerton. No! I kept it. It was her baby — 
and — (Pause.) — she was gone ! (Pause.) I tell you 
this, Monsieur — that you may see what a nature 
Dora inherits from her father — perfidy, to say the 
least. From the mother instability, vacillation, im- 
pulsiveness, vanity. We can’t send a girl with that 


THE HARVEST MOON 


4i 

equipment into a world of tinsel and temptation. 
You can’t advise that. 

Vavin. (Pause) This mother ? (Crosses 

to c.) 

Fullerton. (Pause) Yes? 

Vavin. She wanted to sing? 

Fullerton. Yes. 

Vavin. (To c .) She went abroad to study? 

Fullerton. ( Comes down l.) To Paris. 

Vavin. (Turns to Fullerton ) Against your 
wish? 

Fullerton. Yes. 

Vavin. I call that perseverance — courage — not 
instability — not vacillation. 

Fullerton. It was the love of applause. 

Vavin. (Shaking head) When a woman sings? 
Not more than a brook bubbling over the stones is 
vanity. The yellow bird in the cage at the window — 
(Pause.) There are some women, Professor, brown 
sparrows to build by the chimney — some to chirp at 
the nest and feed wide open mouths of the hungry 
and then — the lark that mounts and sings, and 
mounts and breaks her heart that Heaven is still 
so far — but not vanity. 

Fullerton, (r., anxiously) And you will ad- 
vise Dora ? 

Vavin. To go. 

Judge. (Impressively. Rises ) You are assum- 
ing a grave responsibility, Monsieur Vavin. 

Vavin. (More impressively, hut quiet) A grave 
responsibility, Monsieur. 

(CURTAIN.) 


ACT II 

Scene: Drawing room of Mrs. Winthrop’s apart- 
ment, East Side, upper New York. Light green 
set ; gold and green furniture. Two windows 
are in wall r. looking to Park, 6 ft. square 
entrance c. to reception room. Four foot en- 
trance i.l. to hall. General tone of green and 
gold in hangings and rug and furniture. The 
style is Louis XV. Table c. with chairs; piano 
up l. with settee in front. Big chair below 
door i.l., small sofa corner up r; desk i.r. 
Bibilot between windows; pedestals and statu- 
ettes beside door c. Music cabinet in corner 
behind piano. Pictures on walls. Act plays 32 
minutes. 

Time: September. 

Discovered: At rise of curtain Mrs. Winthrop 
is discovered zvriting. 

(Enter Graham l.i. Cut away suit, glasses, hat 
and cane.) 

Graham. Well, I exchanged the box. 

Mrs. Winthrop. Good. What did they say? 

Graham. Said the first performance comes oflf 

to-night just the same. 


42 


THE HARVEST MOON 


43 

Mrs. Winthrop. (c. back of table c.) You told 
them we ought to know ? 

Graham. Told ’em we did know. 

Mrs. Winthrop. Did you get word to the Judge? 

Graham. (Nodding) Phoned him — before I 
went downtown. 

Mrs. Winthrop. (Sits r. of table) Where was 
he? 

Graham. In bed — at Club. 

Mrs. Winthrop. And Dora’s letter to the mana- 
ger? 

Graham. Box office. 

Mrs. Winthrop. You told them it was impor- 
tant? 

Graham. Told them what it was. 

Mrs. Winthrop. Did you go inside the theatre? 

Graham. (Sits sofa L.) A minute — scrub wo- 
men — carpenters. Part of that second scene set up. 

Mrs. Winthrop. The one there was so much 
trouble over? 

Graham. (Nods) Men from carpet-stores fix- 
ing portieres that pulled down last night — stage 
hands — step ladders — electricians — painters — wow ! 

Mrs. Winthrop. Actors ? 

Graham. Didn’t see actors. 

Mrs. Winthrop. I suppose the poor creatures 
are getting some sleep. 

Graham. (Rises — goes up c.) Well — I’m going 
over to Club and play a game of hand-ball. 

Mrs. Winthrop. Who meets Cornelia? (Rises.) 

Graham. (Smiling grimly) I don’t. (Back at 
table.) 

Mrs. Winthrop. We can’t ignore her telegram. 

Graham. Telegram didn’t say meet her. 

Mrs. Winthrop. Of course not, but you can’t 
let Dora’s Aunt arrive at 42nd Street, alone. ( Goes 
R.C.J 


44 


THE HARVEST MOON 


Graham. ( Smiling ) Seems to me Aunt Corne- 
lia should get accustomed to arriving alone. 

(Enter Maid l.i.J 

Maid. Judge Elliott. 

Mrs. Winthrop. Ask the judge to come in. 
(Exit Maid l.i.) Graham, if you don’t meet Cor- 
nelia, I’ll have to. ( Goes up desk.) 

Graham. (Up c.) Wish you wouldn’t be so old- 
fashioned, mother. 

(Enter Judge l.i.J 

Judge. Well, how is it now? 

Mrs. Winthrop. (Comes down l.c.J You’re 
just out of bed. f G raham up r.J 

Judge, (l.c.) Do you know what time I got to 
bed? 

Mrs. Winthrop. You left us at three. 

Judge. Quarter past, thank you. Then I went 
to the police station — (^Graham and mother start.) 
—with that damn — I beg your pardon — that Amster- 
dam taxicab. 

Graham. Police station? 

Judge. (Crosses c.) The driver said that when 
we all got out at the theatre somebody told him to 
wait. 

Graham. (Dazed) I told him to wait. 

Mrs. Winthrop. (Sits) Why? 

Graham. Why — thought we might have to go 
round to the stage door. 

Judge. (To Mrs. Winthrop. r. of t.) I was 
holding the umbrella over you and Dora 

Mrs. Winthrop. (To Graham ) Didn’t you 
pay him? 

Graham. (Smiling) Don’t think I did. 


THE HARVEST MOON 


45 

Mrs. Winthhrop. And he waited until that 
dress rehearsal was over? 

Graham. (Grins) Seems so 

Judge. Waited twelve dollars and eight cents 
worth. 

Graham. Comes high! — this sporting life. 

Judge. (Goes r.J At the station — I offered to 
punch his nose. 

Mrs. Winthrop. You did? (Graham down l.) 

Judge. I did. He offered to let me and then I 
bought a drink for him and the sergeant and several 
reserves and he took me home to the Club. Five 
o’clock and the milk wagons while I was saying my 

“Now I lay me ” (To Graham. ) What day 

of the week is this ? (Looks out of window R.) 

Graham. Monday. 

Judge. Well, what’s the row? (Sits r. of c. 
table.) 

Mrs. Winthrop. Dora says she won’t play. 

Judge. Has Holcomb apologized? 

Mrs. Winthrop. We haven’t heard from him. 

Judge. Didn’t Dora send my letter? 

Graham. Not verbatim. 

Judge. (Rises) Going to be her own lawyer, is 
she? 

Mrs. Winthrop. She left out — the demand for 
an apology. 

Judge. Why? 

Mrs. Winthrop. She felt they’d certainly apolo- 
gize if their performance depended on it. 

Judge. (Comes to table) Did you advise her to 
take that stand? 

Mrs. Winthrop. (Rises) No — but I’m glad she 
did. 

Graham. She 


(Enter Dora l.v. Judge crosses.) 


46 


THE HARVEST MOON 


Dora. Did you see him ? 

Graham. (Down r. Shakes head) Box office. 

Mrs. Winthrop. (To Graham) You told 
them there’d be no performance? ('Graham nods. 
Joins mother at desk.) 

Judge. (Coming down) That’s hardly fair play, 
my dear. 

Dora. I’ve thought it over all night, my mind’s 
made up. 

Judge. But Dora — that’s fine — four weeks ago — 
or two — but on the day of the production 

Mrs. Winthrop. (Having taken up letter 
Crosses to c. Arch — followed by Graham ) Oh, 
Judge, I’ve a telegram to show you. ( Signals en- 
couragement to Graham. Exit with Judge c. l.) 

Dora. You heard the trouble ? ( Sit settee r.c . ) 

Graham. (Back of table) Outrageous — you’re 
perfectly right. 

Dora. I know I’m right — because there’s more 
in my mind than — than just that trouble at last 
night’s rehearsal — but I want to appear right in 
other people’s judgment. Aunt Cornelia says I in- 
herit an erratic disposition. 

Graham. (Coming down l. of settee) ’Tisn’t 
erratic, Dora, to wash your hands of the whole out- 
fit. Holcomb’s conduct is enough, but you’ve a still 
better reason. 

Dora. What ? 

Graham. Myself. Mother never came back to 
New York as early as this 

Dora. I knew she did it for me. 

Graham. She did it for me. I said that’s just 
an infatuation with Dora. Something will open her 
eyes and then I want her to feel that she’s with 
friends. 

Dora. I couldn’t have gone through it without 
her. 


THE HARVEST MOON 


47 


Graham. I said we don’t want Dora alone — nor 
in a hotel — we must open the apartment. You know 
mother still thinks we’re engaged. 

Dora. No, she doesn’t. (Rises, crosses to him.) 
When she asked me to come here — I made sure she 
wasn’t deceiving herself. 

Graham. I still think we’re engaged. 

Dora. No. 

Graham. If this play goes on without you, they’ll 
tell the public you weren’t equal to it. 

Dora. (Turns from him to table ) If the play 
goes on without me I dan’t care what they tell the 
public. 

Graham. Let us tell them first — that the man 
you’re going to marry objects to the theatre. 

Dora. (Looks at him. Crosses up, sits settee 
r.c.) I feared you’d misunderstand my stopping 
here. 

Graham. (Drags chair to sofa from r. of table) 
I haven’t, and don’t misunderstand me. I want you 
to see how comfortable a girl could be here — what 
a cozy little family we’d make. You haven’t had a 
chance at New York these three weeks — dress- 
makers, rehearsals, photographers. Why not be a 
woman of leisure and dignity ? You’re too good for 
that theatrical life. 

(Enter Maid l.i.J 

Maid. The dressmaker, Miss Fullerton. 

Dora. Let her go to my room. 

("Maid bows and exits. Enter Mrs. Winthrop and 
Judge. J 

Mrs. Winthrop. (c. back of table) Really, 
Graham — you must meet that train. ('Judge goes L.) 

Graham. (Putting back chair . To Judge J 


THE HARVEST MOON 


48 

Judge, you haven’t any business near the 42nd 
Street Station? 

Judge. None. Besides^-telegram wasn’t for me. 

Mrs. Winthrop. From Lenox — Cornelia. 

Dora. (To Judge,) Aunt Cornelia? ^Judge 
points to Graham.) 

Graham. Going to meet her — yes. Good-bye. 
(Exit l.i .) 

Dora. Why is she coming? 

Judge. I telegraphed your father of the possibil- 
ity of your not playing 

Dora. He wants me to go back with her. 

Judge. Think of the happiness it will bring to 
him. (Back of table.) 

Dora. ( On sofa) It’s like going back to prison. 

Mrs. Winthrop. (Sitting by her, l.) Cornelia 
shan’t take you back. 

Dora. It doesn’t matter who takes me back if I 
have to go. 

Mrs. Winthrop. You won’t. I want you to 
spend this Winter with me in New York — I’ll get 
Cornelia’s consent, I know. 

Judge. And I’ll answer for the Professor. 

Dora. I couldn’t do that, Mrs. Winthrop. 

Mrs. Winthrop. Why ? 

Dora. Every year counts with a girl who intends 
to work in the theatre. 

Judge. But — we’ve resigned. ( Corner dozvn r. 
of table, sit.) 

Dora. This play — but I’ve had two other offers 
since we’ve been rehearsing. 

Mrs. Winthrop. Graham explained those offers, 
my dear. (To Judge. ) He says the other syndi- 
cate always does that to make the actors dissatisfied. 

Judge. Don’t you see, Dora, how rapidly the 
business lowers your standard. 

Dora. I don’t understand you. 


THE HARVEST MOON 


49 


Judge. You took this engagement because you 
knew the author and you felt protected. Already 
you talk of other engagements — almost any other. 

Dora. It’s going to be my life, isn’t it? 

Judge. (Goes r.cJ I hope not. 

Mrs. Winthrop. And I think not. Now I’ve a 
compromise to propose. You haven’t seen much of 
the theatre and I believe a girl can learn more about 
it seeing four or five different plays every week than 
she can by acting an entire season in just one. 

Dora. (Rising. Crosses to l.c. front) It 
wouldn’t be fair to you, Mrs. Winthrop. 

Mrs. Winthrop. (Rise) Fair to me? You in 
the center of my box parties? 

Judge. (Rise step toward Dora,) And there’ll 
be the opera. 

Mrs. Winthrop. And the Horse Show. 

Judge. And I know you like dogs and automo- 
biles. 

Dora. ( Shaking head ) It wouldn’t be fair. 

Judge. Pay your board if you want to. ( Crosses 
r. back of Mrs. Winthrop and drop rJ 

Dora. (To Mrs. Winthrop and taking her 
hand) You’re doing it because Graham asked you 
and I’m in a false position. 

Mrs. Winthrop. (To Judge — explaining) The 
children were engaged and it’s off temporarily over 
a little quarrel. ("Judge looks up at Dora.,) 

Dora. (l.c.) No, that isn’t it. You remember, 
when — when I came home with you ? 

Judge. (Crosses, taking her hand) Yes. 

Dora. Such heart-breaking days with Aunt Cor- 
nelia. She said I was growing up just like my 
mother. That a girl who ran away from her school 
couldn’t hope for much; and one day, on that seat 
around the big elm 

Judge. (Nodding) Near the foot-bridge. 


50 


THE HARVEST MOON 


Dora. I was crying. I’d thought of myself only 
as a little girl up to that time — and Graham — Gra- 
ham found me there. He told me not to cry. He 
put his arm ’round me — why any girl would have 
promised any man under those circumstances — any 
nice man. 

Judge. (To Mrs. Winthrop on his r.J Abso- 
lutely normal so far. 

Dora. I’m sorry Graham — remembered it. 

Mrs. Winthrop. Well, he did remember it. 

Judge. Men often do. 

Mrs. Winthrop. You did. 

Judge. (Sighs) Twice. 

Dora. Then papa and I — went to Paris. But I 
wrote Graham that I thought we hadn’t — talked it 
over enough. 

Judge. It is one of the most durable topics. 

Dora. I haven’t any right to spend a winter here 
with you — and Graham — if he still feels as he does. 

("Judge goes l.) 

Mrs. Winthrop. You have if I ask you. 

Dora. (Shaking head) It would be vain — ego- 
tistical. 

Judge. I see Dora’s view point. She declines to 
trade on your hopes in the situation. 

Dora. That’s what I wanted to say. 

Judge. That’s what you have said by your attor- 
ney. 

(Enter Maid with card l.i.J 

Maid. A gentleman to see Miss Fullerton. 

Dora. (Gets card) Mr. Holcomb. (Uncertain.) 
Well — yes — I’ll see him. 

(Exit Maid.J 


THE HARVEST MOON 


5i 


Judge. (Crosses c. to Mrs. WinthropJ We 
complicate matters, don’t we, we old material? 

Mrs. Winthrop. ( Goes behind table ) Do you 
wish to see him alone, Dora? 

Dora. ( Arranging hair at mirror on desk ) I’m 
not afraid to see him alone. 

Judge. Of course not. (Points to Mrs. Win- 
throp to go out c. and go up.) 

(Enter Holcomb . ) 

Holcomb. Good-afternoon. ("Judge nods.) 

Mrs. Winthrop. How are you? 

Judge. Mrs. Winthrop and I will be in the dining 
room, my dear. 

Dora. Thank you. 

( Exit Judge and Mrs. Winthrop c.J 

Holcomb. (Pleadingly) Dora. 

Dora. Mr. Holcomb. 

Holcomb. (With letter) You can’t mean this. 

Dora. ( Coming down ) I do mean it. 

Holcomb. Why, a fellow’s sweetheart doesn’t 
desert him at such a time. 

Dora. He doesn’t humiliate her as you did me. 

Holcomb. Humiliate you? 

Dora. Before everybody. 

Holcomb. When I stopped your scene with Lud- 
low? 

Dora. Yes. ( Sits on sofa.) 

Holcomb. You were introducing the most radi- 
cal changes — things the public wouldn’t have stood 
a moment. Why, dear Dora, I was protecting you. 

Dora. Do you call that protection — running down 
the center aisle clapping your hands like a madman 
— calling in the most brutal way ? 


52 


THE HARVEST MOON 


Holcomb. Brutal? 

Dora. In tones you’d never used before — “No — 
no — no — stop it.” 

Holcomb. Excited, of course, who wouldn’t be? 
His first big play and everything wrong — dresses — 
scenery — text — but 

Dora. You call that protecting me? 

Holcomb. Yes — when I stop you from playing 
a poetical love scene in that — well what shall I call 
it ? I don’t like to use the word vulgar. ( Goes to 
table c.) 

Dora. You did use it last night. 

Holcomb. Speaking to Ludlow. 

Dora. But speaking of me. 

Holcomb. Of his scene. 

Dora. His scene with me? (Rises.) 

Holcomb. With you — to be sure. But you’re a 
beginner and Ludlow misled you — he knows he did. 

Dora. He didn’t mislead Mrs. Winthrop. 

Holcomb. Mrs. Winthrop? 

Dora. Yes — she didn’t think it was vulgar — and 
Judge Elliott didn’t think so. 

Holcomb. But, dear girl, be reasonable. I can’t 
turn the big scene in my play over to Mrs. Winthrop 
and Judge Elliott — at the dress rehearsal — it’s too 
late — the author’s idea must control then. I’m sorry 
those people — sorry anybody — was there. 

Dora. They’re very nice people. 

Holcomb. Fine — but 

Dora. But what? 

Holcomb. They’re not stage managers and they 
don’t know my play. 

Dora. (Sits l. of table) They saw the rehearsal 
and they don’t like it. 

Holcomb. I saw the rehearsal and I don’t like it 
— but — I’m hoping for better things to-night. I 


THE HARVEST MOON 


53 

want you to come down now and go over that 
scene with Ludlow. 

Dora. No — no. (Rises.) 

Holcomb. Why, Dora, think what you’re doing 
to me. I apologize for anything I said in my ex- 
citement — 

Dora. There’s more than that 

Holcomb. What more? 

Dora. Things — in my mind and heart. 

Holcomb. Tell me. 

Dora. I’ll tell no one — but I won’t go to the 
theatre. 

Holcomb. Is it your friends here? 

Dora. You can’t make me tell by asking ques- 
tions. I’ve made up my mind not to play. (Speaks 
at door.) Mrs. Winthrop. 

Mrs. Winthrop. (Off) Yes, dear. ("Dora 
drops down back of sofa.) 

Holcomb. (Follows DoraJ Dora — Miss Fuller- 
ton — you can’t be so cruel as that. Is it this man 
again — Graham Winthrop? 

(Enter Judge and Mrs. Winthrop.J 

Dora. I’ve decided 

Mrs. Winthrop. To play ? 

Dora. No. (Goes up to her.) 

Mrs. Winthrop. Splendid. (Takes Dora in 
arms, she and Mrs. Winthrop go over l. Judge 
comes down R.cJ 

Holcomb. (To JudgeJ You see the injustice of 
this, Judge Elliott — as a mere matter of contract — 
business. 

Judge. I gave you our Massachusetts law on the 
contract, Mr. Holcomb, at Lenox. And it was poor 
business to persuade a girl against her family and 
friends. 


54 


THE HARVEST MOON 


Holcomb. Her family finally decided. 

Judge. Only Vavin decided, and he was preju- 
diced. 

Holcomb. Does Vavin advise this decision? 
Judge. Monsieur Vavin hasn’t been consulted. 
Holcomb. Oh! (Pause — goes to l. end of sofa.) 
If that theatre’s dark to-night or some stock actress 
goes on and reads that part — you’ll have set me 
back a good two years in the fight I’m making. 
("Dora starts.) 

Mrs. Winthrop. ("l. — restraining Dora) What 
is that against a young girl’s life, Mr. Holcomb? 

("Holcomb starts to speak — looks at watch — exit 
L.I.j 

Mrs. Winthrop. (Cheerily) He’s gone. 

Dora. (Dejected) He’s gone. 

Judge. Now let’s all forget it. 

Dora. Maybe we should have asked Monsieur 
Vavin. 

Mrs. Winthrop. Would you take his advice af- 
ter reading his book ? 

Dora. No — no (Going l.) 

Mrs. Winthrop. Stay here, dear. 

Dora. I’ll explain to the dressmaker. (Exit l. 2 .) 
Judge. What book? 

Mrs. Winthrop. (Taking book from piano) 
This one — with the dedication — “To my daughter 
when she is twenty.” 

Judge. Bad? 

Mrs. Winthrop. Shocking. (Throws it down 
on table c.) 

Judge. I’ll borrow it. (Takes book.) 

Mrs. Winthrop. You’ll not. (Recovers book.) 
Judge. (Yielding — front of table) Then I’ll buy 


THE HARVEST MOON 


55 

it. In the matter of depravity I mean to hold my 
own with my lady friends, at least. 

Mrs. Winthrop. I think I’ll go back to Lenox. 

Judge. What — re-open that place? 

Mrs. Winthrop. (Shaking head) Go to the Inn 
— with Dora. 

Judge. Why? 

Mrs. Winthrop. She doesn’t want to go to 
Cambridge with Cornelia, and for a while she should 
be away from this man — and his old play. 

Judge. But what’s to become of me? 

Mrs. Winthrop. I know — if you read this book 
— but I’m too polite to tell you. 

Judge. You’re making it more attractive every 
minute. (Above settee.) 

Mrs. Winthrop. Will you stay in New York? 

Judge. I can’t tell until I read the book. Is its 
baneful attractiveness — metropolitan ? 

Mrs. Winthrop. Universal ! 

Judge. Then I’ll return to Lenox with you. 

Mrs. Winthrop. You compliment me 

Judge. (Nods) My intention 

Mrs. Winthrop. Not overpoweringly — but — 
I’m nearing a time of life when every little may be 
said to help. 

Judge. I never feel so exiled, Gertrude, — {'Mrs. 
Winthrop turns and looks at Judge. ) — as when you 
assume that mask of playful insincerity. 

Mrs. Winthrop. Gertrude? 

Judge. (Positively) Gertrude. 

Mrs. Winthrop. Very few persons call me by 
my first name. 

Judge. Very few persons should. 

Mrs. Winthrop. I agree with you. 

Judge. Especially after we’re married. 

Mrs. Winthrop. You and I? {'Judge nods.) 
Are we to be married ? 


THE HARVEST MOON 


56 

Judge. Yes. 

Mrs. Winthrop. I haven't known it. 

Judge. You would have talked about it — ( Sits 

L.J 

Mrs. Winthrop. Oh 

Judge. So I kept it to myself. 

Mrs. Winthrop. How long have you known it? 

Judge. Known it positively — only these three 
weeks we've been more or less together in New 
York, but for the past two years I — I’ve feared it. 

Mrs. Winthrop. As I understand it, Judge, this 
trouble of yours is — intermittent? 

Judge. Intermittent? ("Mrs. Winthrop nods. 
Pause.) You're forgetting the alimony. 

Mrs. Winthrop. Am I ? 

Judge. (Rises) Yes — those attacks are remit- 
tent. 

Mrs. Winthrop. I see. 

Judge. But despite both my sad experiences, 
Gertrude 

Mrs. Winthrop. (Rises behind table) I don't 
know that I care for Gertrude. 

Judge. I like it — dignified and not funny. It 
isn’t every feminine first name that can — stand the 
strain of a second marriage. 

Mrs. Winthrop. You're talking dreadful non- 
sense. 

Judge. I'm being fatefully prophetic. 

Mrs. Winthrop. And your phophecy is ? 

Judge. Our wedding. 

Mrs. Winthrop. Never. (Sits R.c.j 

Judge. ( Over back of sofa) How can you be so 
— so unobserving — why even your maid — and the 
butler noticed it. 

Mrs. Winthrop. Noticed what? 

Judge. The way I fit into the apartment — the 
warmth and human feeling I bring into this re- 


THE HARVEST MOON 


57 


frigerator. They notice the inexorable fate at work. 

Mrs. Winthrop. Let’s wait until Cornelia comes 
and see what she notices. 

Judge. Cornelia? ("Mrs. Winthrop nods mali- 
ciously.) What has she to do with it? 

Mrs. Winthrop. An old maid on your account. 

Judge. (Savagely) Who says that? 

Mrs. Winthrop. Everybody. 

Judge. I was a married man when Cornelia first 
saw me. 

Mrs. Winthrop. That only made you more 
fatal. 

Judge. Did it? ("Mrs. Winthrop nods.) Well, 
it protected me. 

Mrs. Winthrop. Protected you ? ("Judge nods.) 
But not Cornelia. 

Judge. (Impatiently) I never spoke a word of 
sentiment to Cornelia in my life. Why nineteen 
years ago — Cornelia 

Mrs. Winthrop. Cornelia was nineteen years 
younger. 

Judge. She was — and her unattractiveness had 
the aggression of youth. (Pause.) Cornelia? ("Mrs. 
Winthrop nods.) Have we been coupled in the 
public mind? ("Mrs. Winthrop nods. Judge looks 
himself up and down.) Then I appeal to your 
humanity — I’m entitled to your conjugal protection. 

(Enter Graham J 

Graham.' Mother — Miss Cornelia Fullerton 

Mrs. Winthrop. (To Judge J — and you hear 
the rustle of their wings. 

Judge. Warranted not to tear. 

(Enter Cornelia. Graham goes down r.J 


58 


THE HARVEST MOON 


Mrs. Winthrop. Cornelia. 

Cornelia. Mrs. Winthrop — really decided? 

Mrs. Winthrop. Yes. 

Cornelia, (c. to Judge ) I wish you could have 
seen my brother when your message came. (Takes 
his hand.) Another debt we owe you. 

Judge. Forget it — forget them all, Cornelia. 
(Turns to Graham r.J You know really — it must 
be lonesome for Dora at times. 

Graham. Beastly. 

(Enter Maid.) 

Mrs. Winthrop. Well? 

Maid. That French gentleman — Mister 

Mrs. Winthrop. Monsieur Vavin? 

Maid. Yes, ma'am. /"Mrs. Winthrop turns to 
Judge. ) 

Judge. Well? (Pause.) Four of us! 

Mrs. Winthrop. (To Maid,) Ask Monsieur 
Vavin to come in. 


(Exit Maid.) 

Cornelia. I suppose he admits his mistake f 
Mrs. Winthrop. I’m not sure he knows of it. 
Cornelia. Where's Dora ? 

Mrs. Winthrop. (To Judge) You explain it 
if you think best. (To Cornelia.) Come. 

(Exit Mrs. Winthrop with Cornelia door c.) 

Graham. Shall we tell him? 

(Enter Vavin l.) 


Graham. Good-afternoon. 


THE HARVEST MOON 


59 


Vavin. Good-afternoon. 

Judge. Monsieur. 

Vavin. Mister Holcomb — telephoned me. 

Judge. Yes. 

Vavin. For me it is easy to understand his ex- 
citement, and I promise to see the — the young lady. 
(To Graham.J That is possible? 

Graham. Possible — yes — but it won’t do any 
good. 

Vavin. That is also — possible. 

Judge. That’s probable. 

Graham. I’ll tell Dora you ask for her. (Crosses 
c. goes up.) 

Vavin. I ask the domestique to tell her. 

Graham. Oh! 

(Enter Dora.J 

Dora. Monsieur Vavin, 

Vavin. Mademoiselle. (Takes her hand.) 

Dora. My aunt is here — I’m going home. 

Vavin. Home! (To Judge.,) That is a fine 
word in your language. (To Dora.J I came to see 
you, my dear, for Mr. Holcomb. 

Dora. (Agitated) Mr. Holcomb? 

Judge. As Miss Fullerton has decided for her- 
self, Monsieur, I trust you won’t try to disturb her 
decision. 

Vavin. I shall say nothing except in your pres- 
ence, Judge — (Bows ) — but I should like her to tell 
me alone. 

Dora. Yes. 

Judge. ( Goes up) I accept your promise, Mon- 
sieur. 

Vavin. Though I regret, Judge, to burden you 
when you are ill. 

Judge. I’m not ill. 


60 THE HARVEST MOON 

Vavin. No? Well, to me your face — but no 
matter. 

Judge. (Going with GrahamJ You think I look 

m? 

Graham. Not ill — no (Exit with Judge. 

Vavin extends hands.) 

Dora. (Sits sofa — taking Vavin’s hand.) It all 
happened at rehearsal. 

Vavin. One moment. (Pause.) You see, ma 

cherie, you have more time than I have 

Dora. More time than you ? 

Vavin. (Nodding) You are younger. 

Dora. Oh. 

Vavin. And you can be as calm. This moment 
is one moment — in the life — and we shall make the 
life — calm — (Pause.) — n’est pas. 

Dora. I’ll try. ("Vavin nods and smiles. Pause.) 
I wish you’d seen our dress rehearsal. 

Vavin. I was not invited. 

Dora. There weren’t many there (Pause.) 

Our leading man is named Ludlow. ("Vavin nods.) 
Some persons think he’s the best leading man in 
America. (Pause.) Anyway, I think he knows 
more about acting than Mr. Holcomb knows. 
(Pause. Vavin nods.) I was very anxious to 
please Mr. Holcomb and — we had some private re- 
hearsals. 

Vavin. You and ? 

Dora. And Mr. Ludlow. 

Vavin. Not Mr. Holcomb? 

Dora. No (Pause.) Mr. Ludlow said Mr. 

Holcomb wouldn’t like our way of playing the big 
scene and he advised keeping it secret till the first 
performance to-night. ("Vavin nods.) But I 
thought we’d better try it last night. Well — I 
wouldn’t have minded doing it Mr. Holcomb’s way 
— but — he said things I just can’t forgive. 


THE HARVEST MOON 


61 


Vavin. For example? 

Dora. He called the scene — vulgar. 

Vavin. (Pause) You can’t forgive that. 

Dora. Never. 

Vavin. You have told me everything? 

Dora. Everything. 

Vavin. (Pause) ’m. (Pause.) So you refuse 
to play? 

Dora. Don’t you think I’m right? 

Vavin. I promised to give my opinion with the 
Judge. 

Dora. I’ll call him — in a minute. (Pause.) I 
want you to say I’m right anyway. 

Vavin. Is there something more, cherief 

Dora. More? 

Vavin. (Nodding) On your heart — do you tell 
me all? 

Dora. (Pause) I just couldn’t play, that’s all — 
in that company. 

Vavin. The company? 

Dora. Yes*. 

Vavin. (Pause) You remember the Sunday 
night — four weeks ago — we are in the moonlight? 

Dora. Yes. 

Vavin. Good friends? 

Dora. Yes. 

Vavin. And a girl’s heart? Then you showed 
me — inside of it? (Pause. Dora nods quickly — 
repeatedly — almost imperceptibly.) Well? (Pause.) 
To-day. 

Dora. (Pause) That company — they said that 
would happen. 

Vavin. What would happen, cherief 

Dora. Mr. Ludlow. 

Vavin. Tell me. 

Dora. (Pause) I don’t believe my mother was 
— vulgar. 


62 


THE HARVEST MOON 


Vavin. And I don’t believe it — but tell me. 

Dora. I liked the way we did the scene — and if 
it was vulgar — why, there is something wrong with 
me. 

Vavin. But the company — you said — what was 
it of the company ? 

Dora. They predicted it — that’s all 

Vavin. Predicted what ? 

Dora. (Pause) Mr. Ludlow’s like a good many 
men in the theatre — the girl in the company gen- 
erally has liked him. 

Vavin. (Pause) Yes. (Pause.) Yes. (Mean- 
ing “I see.”) And the sentiment we talked about? 
The sentiment we think we had for the author, Mr. 
Holcomb. 

Dora. (Rises — impulsively) I’m not good 

enough for a man like him. (Handkerchief to face.) 

Vavin. (Follows her) Cherie (Pause.) 

Cherie — look to me — an old friend — who loves you 
— in my eyes. 

Dora. (Innocently) Well? 

Vavin. With this man? Ludlow — what is it? 

Dora. I was wrong. 

Vavin. (Follows) Wrong ? (Hands towards 

her.) Cherie! 

Dora. Yes — Mr. Holcomb was right. As I think 
it over the scene must have been vulgarly done. 

Vavin. (Quickly) The scene — the scene was 

wrong ? 

Dora. Our way of doing it — yes. 

Vavin. (Relieved) Oh (Goes up. Pause.) 

Go on. (Back to c.) 

Dora. And I approved of it. (Sits.) I — sub- 
mitted to it. The man’s way — was not — repugnant 
— to me, as it should have been to a nice girl. And 
there must be something ( Shakes head.) 


THE HARVEST MOON 63 

wrong with me — not to have seen it — as quickly as 
Mr. Holcomb saw it. 

Vavin. Ah ! 

Dora. Aunt Cornelia was right, too. I haven't 
inherited a proper sense of refinement. (Weeps.) 

Vavin. (Pause. To table ) Some day I hope to 

tell Aunt Cornelia (Pause.) A few things 

(Pause.) And this company — my dear — this com- 
pany said — what? 

Dora. That I’d be like the juvenile woman in 
every company — infatuated with Mr. Ludlow. 

Vavin. I see (Pause.) But why are you 

unhappy? (Pause.) There was some infatuation? 

Dora. (Rises) That’s why I hate myself. Mr. 
Holcomb is worth a hundred Ludlows. 

Vavin. Mr. Holcomb — you still — love him? 

Dora. Too much to let him throw himself away 
on a woman of my shallowness. 

Vavin. Shallowness? 

Dora. Yes — I’ve no more character than a 

shameless (Pause.) I’m like that horrid 

woman you wrote about. 

Vavin. I wrote about? 

Dora. There 

Vavin. Oh, you have read this? 

Dora. Yes — “To my daughter when she is 
twenty.” 

Vavin. How old are you, Miss Fullerton? 

Dora. Eighteen (Points to book.) Good 

women are not like that — I know it. 

Vavin. What are good women like? 

Dora. They love one man — they don’t flutter — 
like a weather vane just because some other reason- 
ably strong main is — left alone with them. 

Vavin. ’M — then I made this girl wrong in my 
book? 

Dora. You didn’t make her nice — and that’s one 


THE HARVEST MOON 


64 

of the things I don’t like about Mr. Holcomb’s play. 

Vavin. Mr. Holcomb makes the same mistake? 

Dora. Yes — (Sits sofa.) — only there I was a 
young married woman, unhappy about my husband’s 
best friend. 

Vavin. That must be a very original play. 
(Pause.) Does Mr. Ludlow play the — the hus- 
band’s best friend? 

Dora. Yes. 

Vavin. ( Going up) I see — well, I am ready for 
my — opinion ( Calls.) Gentlemen. 

Graham. (Off) Yes. 

Dora. (Rises, goes up to Vavin ) You under- 
stand it better than anybody — because I haven’t told 
them. 

Vavin. They only know ? 

Dora. Mr. Holcomb’s rudeness. 

(Enter Judge. Vavin comes down c.) 

Judge. Well, Monsieur? 

Vavin. I prefer to talk of it with you, Judge, 
when you are quite well. 

Judge. Quite well? 

Vavin. Not sick. 

Judge. I’m not sick. 

Vavin. You are sure? 

Judge. Perfectly. 

Vavin. Your face is pale — and the eye — well, I 
am sure you are not feeling — just right. (Turns 
away l.) 

Judge. Haven’t an ache or a pain. 

Vavin. ’M — good. 

Judge. Up a little late at that blamed rehearsal, 
but 

Vavin. Perhaps it is that 

Judge. Got eight hours’ sleep after all. 


THE HARVEST MOON 65 

Vavin. But why excite yourself, my dear Judge? 

Judge. Excite myself? 

Vavin. (Front of table) When you should rest 
— be quiet. 

Judge. I’m not exciting myself. 

Vavin. Too much — when — well — when a man’s 
face looks like that ( Goes up r. ) 

Dora. ( Cross l.J Sit down, Judge. 

Judg^t. What’s the matter with my face? 

Vavin. You have no pain? 

Judge. Not at all. 

Vavin. You are strong? 

Judge. Strong enough. 

Vavin. Strange — strange. ('Judge feels his face 
and looks in mirror on desk up r. Graham stays 

up R.) 

(Enter Mrs. Winthrop. J 

Mrs. Winthrop. Good-afternoon, Monsieur. 

Vavin. Madam. 

Mrs. Winthrop. I’ve arranged it, Dora. You’re 
to visit with me. ('Dora sits l. corner in armchair.) 

Judge. (At desk) Here or Lenox? 

Mrs. Winthrop. Either. 

Judge. Lenox, I’d say. 

Vavin. (To Judge J Why talk of it — if you are 
not strong? 

Mrs. Winthrop. What’s the matter? ( Vavin 
indicates the Judge . ) 

Judge. I suppose I show my late hours. 

Vavin. Look at his face. 

Judge. You see anything? 

Mrs. Winthrop. (Hesitating) Why I 

Graham. Your color isn’t as high as sometimes, 
but 


66 


THE HARVEST MOON 


Vavin. (To Mrs. WinthropJ And those lines 

there and there ? My dear Madam 

Mrs. Winthrop. Don’t stand, Judge. 

Judge. (Sits sofa r.J Don’t make a baby of me. 
Mrs. Winthrop. What about some tea? 

Judge. Haven’t had my breakfast an hour 

('Vavin takes his pulse.) I don’t need tea — if I 
have to take anything, some rye whiskey. 

Graham. (Going) And soda? 

Judge. No, straight. 

(Exit Graham c.) 

Vavin. You didn’t feel this coming on? 

Judge. Remember thinking the elevator started 

and stopped a little suddenly — but 

Vavin. ’M 

Judge. Pulse is all right, isn’t it? ('Vavin shrugs. 
Vavin to window.) Yesterday I walked clear 
through Central Park. 

Vavin. Could you do it now? 

Judge. I wouldn’t be foolish enough to try it 
now. 

(Re-enter Graham with whiskey — comes down l. 
of Judge . ) 

Graham. That enough? 

Judge. Yes. 

Vavin. One moment. 

Mrs. Winthrop. What? 

Vavin. That would be bad. (Takes whiskey.) 
Judge. Bad? 

Vavin. There is nothing the matter with you. 
(Puts whiskey on table.) 

Judge. Pm weak — as a cat. 

Vavin. For a minute — because I said so. 


THE HARVEST MOON 


67 


Mrs. Winthrop. But why? 

Vavin. A suggestion. 

Graham. Suggestion — for what? 

Vavin. (Positively) That we shall see its power. 

Judge. You mean you’ve been trying that old 
Russian experiment of telling a well man he is ill? 

Vavin. Yes. 

Judge. Or are you reversing it now? (Rise — 
goes up a step.) 

Vavin. There was nothing. You looked the 
same as . you have looked for three weeks — but — I 
say you are ill and you feel it. I ask you — to look 
at his face and you are anxious. 

Mrs. Winthrop. Naturally. 

Vavin. Well, then ( Crosses to Mrs. Win- 
throp.,) This young girl — not for five minutes — 
not for one afternoon, but fourteen — fifteen years — 
they suggest — suggest — suggest — to her, and what 
suggestion ? That she is like a mother also who ran 

away. Mon Dieu (To Judge J When a 

strong man is sick that I tell him twice — what of a 
baby girl — impressionable ? Full of faith ? Believes 
you? Also you show her the mother’s picture. It 
is the same — and if she looks like the mother — she 
is then — to behave like the mother. Oh, the crimes 
that good, ignorant people — ( Goes up r.) — make 
with — their suggestions. 

Mrs. Winthrop. But— what brings this up? 

Vavin. The Judge hoped I shall persuade the 
girl to go back to that atmosphere — not if she turns 
a hand organ in the street. 

Judge. It was only her aunt that said those 
things, and occasionally. 

Vavin. ( Goes to table ) Occasionally ? Hear 
me. I visited once to write a story of a prison cor- 
rectionelle, Department of the Seine. There is a 
fine young man — eye wide open — blue — like a China 


68 


THE HARVEST MOON 


doll. Well, I ask this young man “What is your 
crime ?” “Forgery from the bank.” “Your fam- 
ily?” “Very good.” “In prison any of them?” 
“One — an uncle.” “What of him?” “I never saw 
him.” “Ah?” “Ah, Monsieur, if I had only obeyed 
my mother — she warned me always ‘You are just 
like your uncle Emile — be careful, be careful, my 
son — Emile went to prison/ ” “Yes ? For what 
crime? This Uncle?” “Forgery from a bank.” 
(Turns to Dora.,) 

Judge. I see. 

Vavin. All over this wide world good mothers 
say “Be careful of drink, my boy. Drink ruined 
your father.” And then, not alcohol, but the idea 
gnaws and corrodes. At first he can keep it from 
him — by one little finger — but it is always there — 
in the edge of ’es mind — always — because it is ’es 
fear, ’es thought — after while not the finger but 
the left hand must resist it — then the right hand — 
then two hands to keep its distance — then one day 
the boy is weary in body — or mind — or spirit and 

that shadow takes ’em. He struggles no longer 

( Goes to Dora l.J — not heredity — not an appetite, 
but a negative suggestion makes ’em too — a drunk- 
ard. 

Graham. But Miss Fullerton isn’t going back to 
that atmosphere. 

Mrs. Winthrop. No — she is to be with me. 

Vavin. (Turns on Mrs. Winthrop,) Fine if 
she decides. 

Judge. She has decided. 

Vavin. If she decides when she knows all. 

Dora. (Rises) All what, Monsieur? 

Vavin. This — you have seen — that a strong man 
is ill in a minute — and only one man — myself — so 
tells him — one afternoon. What doubt must come 
in a girl’s mind when — a whole company tells her 


THE HARVEST MOON 


69 

every day — you will feel so — or so — when before 
she is twenty she reads such books. That is not a 
bad heart, my dear — not something from the mother 
— (Vavin touches Dora’s hair.) — just a great law. 

Dora. You think I should play? 

Mrs. Winthrop. Oh, no. 

Judge. That question is settled. 

Dora. Tell me. 

Vavin. I — can’t. 

Dora. You can’t? 

Vavin. (Shakes head ) Also these friends — 
cannot (Up to desk — sees mirror.) 

Dora. Then who ? ( Crosses c.) 

Vavin. A truer judge than these (Takes 

mirror, comes down to her.) Your face, ma cherie 
— like the mother’s. That clear eye without mud in 
it — without the jaundice of my cigarette. (Turns 
to Mrs. Winthrop.J You know the pictures of 
Napoleon — the courage of that nose and firm jaw. 
(To Dora.J For a woman you have as good as that 
great emperor — (Takes Dora’s r. hand.) — and that 
mouth, my friends — when God puts two lips rest- 
fully together — without sneer or pride or malice or 
wrinkled fear — the soul he makes serene. Now 
we none of us advise her. To-night a young man 
is to have a first presentation of his play — it is a 
part of ’es life. The Director of a theatre. His 
venture many thousand dollars — a company who 
live by that art — twelve — fifteen — men and women, 
after years of study and four weeks of repetition — 
for to-night. 

Mrs. Winthrop. What is all of that against a 
young girl’s entire future? 

Vavin. Nothing — but here is a beautiful moment 
for you — for me. Self interest — resentment — the 
bribes of our weak human nature on one side — on 
the other side a principle — and something that builds 


70 


THE HARVEST MOON 


character — also the chance to meet temptations and 
grow strong to step above them — and we — we are 
to see a decision from a girl who now — finds herself. 
(Takes Dora’s hand — puts her front table.) 

Dora. (Pause) I’ll play. (Vavin goes up sat- 
isfied.) 

Judge. Rank sophistry, Monsieur Vavin. 

Mrs. Winthrop. Of course. 

Judge. Artifice. You say let her decide and 
then you preach at her. ( Goes up c.) And you 
don’t give us a chance. 

Graham. While we stand gagged. 

Mrs. Winthrop. Tongue-tied. 

Vavin. One moment — she is now informed — 
awake. I leave you — say your own arguments with- 
out me. 

Dora. (Puts hands out to Vavin,) There’s a 
rehearsal at the theatre now — I’ll go to it. (Starts 
to exit with Vavin J 


(CURTAIN) 


ACT III 

Scene: Handsomely furnished hotel room. Wall 
pale gray color. At hack large double windoiv 
of modern construction. A jog at R.u. indicates 
private hall going R. On R. flat below jog, fire- 
place with fire lighted and trimmed. Door l.u. 
to second room of apartment. Table centre; 
table l.u. Three good chairs; modern electrolier 
hanging centre with four lights on it. Side 
lights over the mantel — all in white. Mushroom 
lamp on table to light red at cue; shaded lamp 
on table u.l. to light yellow at cue. Double 
curtains arranged for the window and over the 
door l. which may be drawn to give effect of 
Red or Yellow, as is wished. Big double win- 
dow back by Court of hotel of considerable 
elevation. Spot light for moonlight to show 
through window at cue. Stage carpet to match 
wall. 

Time : Four days later than Act II. 

Discovered: At rise of curtain, Henri is standing 
at window in moonlight. Curtains are drawn 
back; window is open; sound of music from 
hotel restaurant. 


7i 


72 


THE HARVEST MOON 


Henri. These American hotels! Mon Dieu! I 
have never been so high except the Tour Eiffel; and 
these American women, why don’t they pull down 
their curtains ? ( Looks out r. and l.J 

(Enter Vavin R.3. He has crush hat and wears 
Inverness coat over French dress suit.) 

Vavin. Henri ! 

Henri. Oui, Monsieur. 

Vavin. The gentleman has answered? ("Henri 
takes various wraps.) 

Henri. There are letters. (Phone rings.) 

Vavin. Answer. ("Vavin picks up letters on 
table c. Henri goes to phone L.2.J 

Henri. Hello (Pause.) I will see, Mon- 
sieur, who shall I say is to see him (Pause.) 

Mr. Holcomb. 

Vavin. Ask him to come up — also Miss Fuller- 
ton is to come up without phoning. 

Henri. (At phone) Have the kindness to tell 
the gentleman he is to come up — and please — Mon- 
sieur Vavin expects Miss Fullerton — please ask her 

to come up without phoning — a (To Vavin . ) 

Monsieur Holcomb is in the elevator — (To phone.) 
— thank you. (Puts phone up. Comes to Vavin 
c.) Monsieur was to the theatre? 

Vavin. Yes (Pause.) She is very like her 

mother, Henri 

Henri. Monsieur spoke with her? 

Vavin. (Nods) There is some supper? 

Henri. Oui, Monsieur. 

Vavin. For three? 

Henri. For three, Monsieur. (Door buzzer. 
Henri goes to door R.3J 

Holcomb. (Outside) Monsieur Vavin. 

Henri. Come in, please. 


THE HARVEST MOON 


73 


Vavin. Come in, Mister Holcomb- (Enter Hol- 
comb. ) I hope my request was not too much like 
a command. 

Holcomb. Any request of yours will have that 
force , Monsieur. 

("Henri appears rJ 

Vavin. Thank you. ("Henri waits for Hol- 
comb’s coat and hat.) I have seen your play. 

( Exit Henri with coat and hat.) 

Holcomb. (Crosses to fireplace r.) I hope you 
liked the performance. 

Vavin. I regret I did not. 

Holcomb. Then you’re not lonesome. (Sits.) 

Vavin. Your play is not a bad play, but it is not 
well done. 

Holcomb. I don’t care to shift the blame for its 
failure upon the actors. 

Vavin. I did not say actors, Monsieur. 

Holcomb. Excuse me. 

Vavin. And I did not say failure. 

Holcomb. No? 

Vavin. It will succeed. 

Holcomb. I wish you could convince the man- 
agement. 

Vavin. We will. 

Holcomb. We will ? 

Vavin. You and I. 

Holcomb. You mean — rewrite it? 

Vavin. I mean rehearse it — it is damnably pre- 
pared, that play of yours. Who was your director ? 

Holcomb. I put it on myself. 

Vavin. Ah! (Pause.) Have you seen any plays 


74 


THE HARVEST MOON 


in Paris? ("Holcomb shakes head.) Why do you 
think our French plays succeed? 

Holcomb. They don’t often — in America. 

Vavin. I will tell you why that is — (Pause .) — 
later. Why do you think they succeed in France? 

Holcomb. Your public understands them? 
("Vavin shakes his head.) Well written? ("Vavin 
shakes his head.) Well played? 

Vavin. They are well rehearsed — your play shall 
be well rehearsed. 

Holcomb. I fear my play is beyond the aid of 
even the first dramatist of France. 

Vavin. It is your first play, I believe, Mr. Hol- 
comb? 

Holcomb. My first, Monsieur. 

Vavin. It is also the first venture of Miss Fuller- 
ton? 

Holcomb. Yes, sir. 

Vavin. My wish to see your play succeed is be- 
cause of my interest in that lady. 

Holcomb. I know that. 

Vavin. You can be honest with me, Mr. Hol- 
comb. 

Holcomb. Well ? 

Vavin. You — love the girl? 

Holcomb. (Pause) I do. (Rise.) 

Vavin. Then tell her so. 

Holcomb. I have. 

Vavin. Again and again. The spirit is wounded 
— now, your profession. 

Holcomb. I’m trying to write plays. 

Vavin. I know — but why? Money? 

Holcomb. Not entirely. I’ve made a living since 
I was ten. 

Vavin. Besides money — why? 

Holcomb. (Pause) I see things that way — some 
fellows see pictures — they paint. Some see build- 


THE HARVEST MOON 


75 

ings — they plan. I see men and women and — my 
men and women collide. (Crosses to c. front of 
table.) — and persuade — and fight. 

Vavin. (Nods) You see them here? (Touches 
his own forehead.) 

Holcomb. Yes. 

Vavin. And you would have actors do what you 
see here? 

Holcomb. (Sits L. of table.) Yes. 

Vavin. And the public ? What of them? 

Holcomb. Want them of course. 

Vavin. The public see your actors — your drama? 

Holcomb. ( Prompting) Yes. 

Vavin. Perhaps the public are imperilled — are 
moved — to think — to say — to do — the same things as 
your actors? 

Holcomb. Quite likely. 

Vavin. You think of that ? 

Holcomb. It occurs to me sometimes. 

Vavin. It must occur — always. A man in a 
crowd takes panic quicker than the same man alone 
can get frightened. With the crowd he laughs more 
readily, because men take suggestions quicker in 
crowds — the riot — the revival — the meeting political. 
(^Holcomb nods.) And there is no man whose sug- 
gestion is so subtle — so sure — so strong — as the sug- 
gestion the playwright makes from the stage to the 
people. ( Goes to fire R.) I have white hair — yours 
is dark. Believe me, I would give the rest of my 
life to go back and take from my plays every word 
that has made any man — less honest — less hopeful — 
less kind. 

Holcomb. Do you think my play has anything 
hurtful in it? 

Vavin. No. And pardon me — I have taken the 
liberty to look at you yourself. I have asked some 
questions about you. 


76 


THE HARVEST MOON 


Holcomb. About me? (Vavin nods.) Why? 

Vavin. Again my interest in Dora. 

Holcomb. Well ? 

Vavin. They tell me — there is a good match for 
her with Mrs. Winthrop’s son. 

Holcomb. Yes. 

Vavin. ( Folds arms behind chair l. of table) 
What will you do about that? 

Holcomb. If Dora doesn’t like me enough to 
overcome the — the advantages he has — why — she 
won’t like me enough — that’s all. 

Vavin. I — I am for you. ( Gives hand.) 

Holcomb. Thank you. 

Vavin. Remind me to-night — it is moonlight. 

Holcomb. Moonlight? 

Vavin. (Nods) I have asked Dora here as soon 
as she could dress from the theatre. That is not dis- 
agreeable to you? 

Holcomb. I fear it will not be agreeable to her. 
These past four nights at the theatre Dora has 
avoided me. 

The BUZZER rings 

Vavin. Because she doubts herself and because 
of that I bring you together, here to-night. That 
will depart — I’m going to ask you to rehearse to- 
gether a scene from your play. 

Henri. (Entering) Come in, please. 

(Enter Dora, Cornelia and GrahamJ 

Vavin. Ah, my dear, I am so glad to see you ; 
I have here a friend of yours. 

Dora. A friend? (Turns.) Oh. (Goes down l.) 

Holcomb. (Bowing) Miss Fullerton. 

Vavin. I asked Mr. Holcomb to call. (To Cor- 


THE HARVEST MOON 


77 

nelia and Graham. ) Good-evening, Madam. 

Cornelia. Good-evening. 

Graham. The Clerk said we were to come up. 
(R.C.J 

Vavin. Yes — I feared my interview would be too 
long to ask Miss Dora’s friends to wait for her, and 
I could better explain that. 

Graham. I see. 

Vavin. If you will leave her — here in my care 
half an hour — I will see she comes safely home. 

Cornelia. Well — I don’t know. Couldn’t you 
come with us and Dora to Mrs. Winthrop’s ? 

Vavin. I have the time — but — well (To 

Dora.; May you not stay (To Cornelia.; 

Please. 

Cornelia. Well (Perplexed.) It’s a little 

too much for me. (To Graham. ) If she needs a 
chaperone in the theatre — I’d think a man’s rooms 
in a hotel 

Vavin. (Expostulates) My dear lady! — with 
Henri? — Henri was — was with me before this young 
lady was ever born ; and here also is Mr. Holcomb — 
and my white hairs. Mon Dieu — I will not permit 
you to compliment me that way. 

Cornelia. Compliment you ? 

Vavin. You mean it wwkindly? 

Cornelia. It’s just what’s people will say. Mrs. 
Winthrop and Judge Elliott both agreed that Dora 
and Graham oughtn’t to be going to supper without 
a chaperone. 

Vavin. I hope it was a pleasant supper. 

Graham. We didn’t go. 

Vavin. Oh. 

Graham. Well? (To Cornelia.; 

Cornelia. (To Dora; Well? 

Vavin. Please. 


78 THE HARVEST MOON 

Dora. Monsieur says he’ll bring me in half an 
hour. 

Cornelia. You’re going to stay ? 

Dora. Yes. 

Graham. (To Cornelia ) Half an hour — let us 
have a bite downstairs. 

Cornelia. Well, if people would say things with 
you and Dora alone; I’m going to be as careful 
about my ozvn conduct. 

Graham. (Pause) Home? 

Cornelia. Home — I wash my hands of the 
whole business. ( Crosses up to R.3J 

Graham. (To Vavin) Good-night! 

Vavin. Good-night. ('Cornelia goes up to door 
r.u. Calls.) Henri! (Henri crosses r. To Cor- 
nelia.,) I thank you for this expression of confi- 
dence. (Indicates Dora.,) 

Cornelia. It isn’t confidence — and you needn’t 
thank me. 

Graham. (To Dora.,) Mother’ll sit up for you 
and we’ll have a supper at home. 

Dora. Thank you. 

Graham. (To Holcomb,) Good-night. 

(Exeunt Cornelia and Graham . ) 

Vavin. ^Henri re-appears r .) We will eat here. 

Henri. Oui, Monsieur. (Exit L.J 

Vavin. (Taking Dora’s wraps) Not a supper, 
my dear, only a bite. 

Dora. I’m not hungry. 

Vavin. (Putting wraps on chair) And while 
we drink a glass of wine — you and I and this author 
of yours — we will talk about the play. Have this 
chair — my dear. (Places chair for her l. of table.) 


THE HARVEST MOON 


79 

^Holcomb takes from mantel package which he had 
laid down upon entering.) 

Vavin. (At center) Why do you think, my chil- 
dren, a play is put on the stage? 

Dora. To be heard, of course. 

Vavin. To be seen — it is more for the eye, be- 
lieve me. (Turns to Holcomb.,) Well, Monsieur, 
in America it seems to me you forget that. 

(Enter Henri with tray on which are some club 
sandwiches and chafing dish with oyster crabs 
Newburg. Henri puts tray on table.) 

Vavin. Du Vin. 

Henri. Oui, Monsieur. (Exit l.) 

Vavin. (Lifting cover from chafing dish) Baby 
crabs Newburg — I hope you like them. 

Dora. Very much. 

Vavin. Monsieur ? 

Holcomb. This is my first play, Monsieur, and 
not very successful. 

Vavin. Do not fear, you will soon be in the 
Newburg class. (Enter Henri with bottle. Henri 
opens wine. Henri puts bottle down.) I will pour 
it. (Indicates chafing dish.) Serve Mademoiselle. 
(Handing mms. to Holcomb.,) Find me, please, 
that scene in the second act between Mademoiselle 
and the husband and the friend of the family. Let 
me give you a glass of wine. ("Henri serves Dora, 
then Holcomb. Vavin puts Dora’s chair at end of 
table — she sits.) 

Holcomb. No, thank you. 

Vavin. (In surprise) What — Vintage ’98? 

Holcomb. If you insist. (Vavin hands Holcomb 
wine.) This is the scene. 


80 THE HARVEST MOON 

( Henri puts plate of Nezvburg to R. of table. Va- 
vin crosses r. with glass of wine.) 

Vavin. I will talk. (Dismisses Henri who goes 
out.) Well, Mademoiselle — Monsieur — our success. 

Holcomb. Thank you. 

('Holcomb and Vavin drink.) 

Vavin. (To Dora,) You don’t like that, my 
dear? 

Dora. Papa has never given me wine. 

Vavin. (Impressively) Then let us never begin. 
(To Holcomb.,) You think, Monsieur, that was 
simply pressed from the grape and that is all. 

Holcomb. I hope from the grape. 

Vavin. But no other preparation ? 

Holcomb. I understand the process is long, 

Vavin. Yes — long. And a play (Picks up 

manuscripts.) — you squeeze that from an ink bottle, 

and voila (Laughs.) Ah — no. Now this scene, 

you played it in a white light. 

Holcomb. Yes — daytime. 

Vavin. Yet all the sentiment is night time. (Look 
from Holcomb to Dora.,) Do you know the effect 
of color on the emotions? 

('Dora shakes her head “no.”) 

Holcomb. Color? 

Vavin. You have heard of Charcot — Doctor 
Charcot ? 

Holcomb. Yes. 

Vavin. He was my friend. We made together 
many experiments of the effect of color upon many 
persons under hypnotic influence. (Nods.) Invari- 
ably — Invariably under yellow the subject laughs ; 


THE HARVEST MOON 


81 


under green he is content; under red he is content 
also, but slightly stimulated; if it is brown he is in 
fear; if violet he weeps; under blue there is a — 
what do you call it manner — distrait? 

Dora. Perplexed ? 

Vavin. Perplexed. Some more of these? (In- 
dicates dish.) 

Dora. No more, thank you. 

("Vavin defers to Holcomb, who shakes his head.) 

Vavin. Don’t you see the color for that scene 
should be red. 

Holcomb. You think that important, Monsieur? 
Do you think an individual so sensitive to color? 

Vavin. From your awful elevated road I look 
into the apartment windows. Inside the walls brown 
or a dark blue — depressing. I wonder the poor peo- 
ple live, for myself when I work — construct some- 
thing here in a strange hotel, I have the room fitted 
so that I can get the color I need. ( Calls Henri J 
Let me show you. (Enter Henri. To Henri J 

The red ("Henri pulls red curtains.) Those 

curtains. You see what that does? Now suppose 
in addition to them, I give you this red light. (Turns 
red light on.) You see? Still warmer, now if I 

turn out the white light (Turns out chandelier.) 

We are at once domestic — cosy corner — yes? The 
armchair — the old man with the pipe ; in your play — 
there is no old man with the pipe so we place the 

lady so- (Brings Dora over to chair at fireplace. 

Hold out hand to Dora — passes her into chair.) 
Isn’t this the happy home ? Isn’t she the young wife, 

and can’t you almost believe I am the father 

(To Dora.J Don’t you feel that, my dear? 

Dora. Certainly. 


82 THE HARVEST MOON 

Holcomb. But we have a red light in the play 
now. 

Vavin. But in the wrong place — a scene of gay- 
ety — it should have been yellow — find it in your 
manuscript — the first act. ( Calls.) Henri ! (Henri 

enters. To Henri.,) The yellow (Henri pulls 

yellozv curtains.) You see what that does now? 
(Turns on yellow lamp. To Dora.,) You remember 
your part, of course, my dear? (To Holcomb . ) 
You rehearsed it, you can speak the lines of your 
leading man. (To Dora.,) Your cloak, my dear — 
it is lined with yellow — take that ! ( Gets it for her. 
Henri turns on yellow lamp desk r.) 

Holcomb. Is this the scene you mean? 

Vavin. Where the man follows the woman into 
her own apartment before he is such good friends 
with her husband. 

Holcomb. Yes. 

Vavin. Give me the book, please. (Takes table 
up with Holcomb r.c. As he takes the book, goes 
down l. out of picture, Holcomb looks at him.) 
Oh, no, you shall play the scene — I look on. Begin, 
please, where the lady had ordered him from the 
house and he is at door hesitating to go. (Henri 
crosses to r. upper.) He tries to explain — yes — 
here it is — begin — “We folks from the Pacific ” 

(Begin comedy scene — Vavin sits down l. as Hol- 
comb and Dora play.) 

Holcomb. We folks from the Pacific are impul- 
sive, I am told; and besides when fate will place a 
woman constantly in one's way, and the woman is 
so like a dead sweetheart — why — well, some men 
would understand me (Pause.) But I am in- 

truding — good-night. (Starts out l.) 

Dora. Mr. Fletcher. 


THE HARVEST MOON 


83 


Holcomb. (Pausing) Mrs. Milton. 

Dora. You said your home was in Santa Barbara, 
I believe. 

Holcomb. Santa Barbara. ( One step in return.) 

Dora. Are you acquainted in San Francisco? 

Holcomb. Fairly. 

Dora. Do you know Mr. Will Emmett? 

Holcomb. Intimately. 

Dora. You do? 

Holcomb. (Another step down) Yes — and Mr. 
Hart and Gardner and Frank Harris. 

Dora. (Pleased) You know Harry Gardner ? 

Holcomb. (Another step dozvn) Oh, yes — we 
were in Harvard together — Harry and I. 

Dora. Why, how singular. (Pause.) Won’t you 
be seated? 

Holcomb. Thank you. (P ant omines “after you.” 
Dora sits — Holcomb sits chair l.c.) 

Dora. I used to visit San Francisco often. 

Holcomb. Charming place at the right season. 

Dora. Well? 

Vavin. (Rises, directing) Now, my dear, right 
here laugh audibly. ('Dora laughs.) Yes — show 
your teeth ; and you, Monsieur, you smile — ah, I see 
you have teeth, too. Now again. ( Sits l.) 

Dora. I think I interrupted you in some ex- 
planation a moment ago. 

Holcomb. Well, yes — I (Looks toward 

door l.J 

Vavin. (Directing) Yes — but my man looks 
sideways — you see. (Shows him — rises.) “Inter- 
rupt him ?” Why, the woman ordered you from the 

house. Now go on, my dear (With emphasis.) 

“ I interrupted you.” 

Dora. I think I interrupted you in some ex- 
planation a moment ago. 

Vavin. (Directing) Now — with deep breath. 


8 4 


THE HARVEST MOON 


Holcomb. (Inhaling) Well, yes — I was quite 
in earnest in saying I’d admired you, but you 
frowned so terribly 

Dora. Well (Extends hands in “what can 

a woman do” gesture.) 

Holcomb. I know, but 

Vavin. (Directing) Now, that is embarrassment 
come to her relief quickly, Monsieur. 

Holcomb. I know, but 

Vavin. More emphatic and more sympathetic — 
“I know, but " (Acts.) 

Holcomb. (Repeating after Vavin’s manner) 
I know, but it was a fact that I simply determined to 
have at least one interview. 

Vavin. Now — both smile — again the teeth, my 
dear children. (Sits.) 

Dora. And now ? 

Holcomb. Well, now. 

Vavin. Now, your chair a little closer. ('Hol- 
comb draws chair a little closer.) 

Holcomb. ( Obeying ) Now I think we might get 
a little better acquainted — that is all. 

Dora. You had no definite plans beyond this 
visit ? 

Holcomb. Oh, yes — and no — not exactly plans, 
say rather — dreams. 

Vavin. (Rises) Now, my boy, on the word 
“dreams” drop your voice and make it warm — like 
lavender pigeon. 

Holcomb. (With manner) Not exactly plans, 

say rather — dreams (Vavin nods to Holcomb 

“Good”. Vavin sits.) You seem often alone. 

Dora. Yes, I have been alone the two or three 
times when you have seen me. 

Holcomb. (Looks to front) And that simply 
opened up a train of thought. I said, now there is 


THE HARVEST MOON 85 

a pretty woman, the picture of — (Turns to Dora,) — 
the lady I mentioned. 

Vavin. Nod, my dear, because he has told you 
you are like a dead sweetheart. 

Holcommb. I said, I’ll bet she’s a good fellow. 
('Dora laughs and shrinks.) A Western expression, 
pardon me. (Vavin Bus. of approval of Dora’s 
acting.) 

Dora. Oh, go on! 

Holcomb. I figured that Mr. Milton was prob- 
ably pretty busy at the bank, or whatever it is — ds 
it bank? 

Vavin. Of course we know it is not bank 

(Rises.) So when you are saying " whatever it is” 
you look out to the audience, and on the word bank, 
you smile, my dear ; then you turn to her quickly and 
— (Pause.) The question. You see that gives the 
laugh. Now, go on. 

Holcomb. I figured it out that Mr. Milton was 
probably pretty busy at the bank, or whatever it is — 
is it bank? (Gesture from Vavin — Dora smiles.) 

Dora. (Leans back — flirts with Holcomb ) Go 
on. 

Holcomb. I said, here I am with plenty of leis- 
ure, time to sell— (Looks at Dora ) — and just as 
lonely as a seagull. 

Vavin. (Rises) Look out as you dream — look 
out to the theatre. 

Holcomb. (Obeying) Why — if I can only get 
an introduction or scrape an acquaintance in some 
way 

Dora. Scrape an acquaintance— why, Mr. Fletch- 
er. 

Holcomb. Just to myself, you know. (Looks at 
Dora.,) I said meet her anyway and after that I will 
convince her that I am all right — as men go, you 
know. 


86 


THE HARVEST MOON 


Dora. (Leans back in chair) Yes, I think I 
know. ( Smiles.) 

Vavin. The teeth ! The teeth ! 

Holcomb. Then I will meet the husband, or 
maybe meet him first. ('Vavin gesticulates and 
shows teeth. Holcomb smiles.) Lose a few games 
of billiards to him, and there you are. 

Vavin. Now, your hands out — look at the lady 
and smile — you smile, my dear. Now keep that you 
— you laugh a little — he laughs a little, you laugh 
more — you laugh together — it is a panic — you show 
your teeth — then that is the scene. ('Vavin walking 
about enthusiastically.) Mon Dieu! Don’t you see 
that is life — something happens, everything goes 
right ; but now you are playing that in a red light ; 
it was a funeral, believe me. How can any play 
succeed with all that? 

(All rise. Holcomb puts chair over r.J 

Holcomb. Of course — that’s better. 

Dora. It is another story, altogether. ('Dora 
turns away, goes to piano, looks at music.) 

Vavin. Now you had a love scene — not a cooing 
physical love that you could play in the red light, but 
a love scene of adoration — (Moves chair up c.) — 
where the woman is on a pedestal — that should have 
been moonlight. 

Holcomb. Don’t you think, Monsieur, so much 
attention to the light is a bit theatrical? 

V avi n . Theatrical ? 

Holcomb. Not true to life. 

Vavin. Life? Do you know, Monsieur, that 
sixty percent of the causes of falling in love — 
('Holcomb looks at Dora. Dora turns away to 
piano.) — are the moonlight in life? 

Holcomb. No, I didn’t. 


THE HARVEST MOON 


87 


Vavin. Do you know the harvest moon? 

Holcomb. You mean the full moon that comfcs at 
harvest time? 

Vavin. (Nodding) Do you know its peculiarity ? 

Holcomb. No. 

Dora. Is it peculiar? 

Vavin. Generally the full moon rises nearly an 
hour later each night. The harvest moon, at the 
full, comes up three nights almost at the same time. 
Did you think of that, and why do you suppose? 

Holcomb. Why? 

Vavin. That harvesters, men and women, shall 
fall in love with each other. fDoRA self-con- 
scious and looks down.) Oh, it is a droll God, 
Monsieur, that plays that trick for one hour on his 
children — and what time? The best season of the 
year. And also again — what time ? When the 
grapes are ripe, when there is a wine press — we are 
forgetting this bottle. ( Gets wine bottle and glass — 
gives Holcomb. Dora watches Vavin.J A har- 
vest moon for one hour and the wonderful madness 
that goes with this. (Pours wine.) Is that of the 
theatre? No, it is a droll God. (Drinks.) Now — 
I cannot show you — I have not the arrangement in 
my room to get the blue light, which is mystery ; and 
the green light, which is content, and which together 
make a moonlight. When two people come together 
mystified and happy, and say: Ah, this is fate, we 
are for each other since the beginning. 

Holcomb. It was moonlight when we came in. 

Vavin. Yes? 

Holcomb. Yes — this is the harvest moon. 

Vavin. Ah, then I can show you. I cannot read 
because there will not be light enough. (Turns out 
yellow light.) But your own lines, Monsieur — that 

pretty little scene of yours ( Opens curtains at 

window.) — which goes for nothing — come here, you 


88 


THE HARVEST MOON 


both. (Both go up c. Turns out another light. The 
only light on stage now is moonlight coming through 
window.) I am your audience — with the glass of 
wine we are there. 

Holcomb. (Playing the part) You are not 
happy ? 

Dora. I am honest. 

Holcomb. I should be patient, Clara, if the situa- 
tion brought contentment to anyone. I have been 
away a year. 

Dora. It should have been forever. 

Holcomb. Can’t you see, Clara, that a stronger 
hand than ours directs it? 

Dora. To what end — to what good? 

Holcomb. Let us obey and see. It is fate. 
(Takes her in both his arms.) (V avin quietly 
sneaks out l.) I had felt that.my life was done, but 
with love — for I love you 

Dora. Don’t, Tom 

Holcomb. I know you love me and it has given 
me faith again and ambition, ideas and endurance. 
(Looks at Vavin’s place.) Mr. Vavin’s gone. Why, 
Dora , you mustn’t think I care because this piece 
hasn’t gone 

Dora. That wasn’t in Ludlow’s lines. (Tries to 
get away from Holcomb. Looks for avin.) 

Holcomb. No — they are mine. If you don’t lose 
faith in me I will write something that you’ll be 
proud to play — a part that’ll be worthy of you. Say 
that you love me. (Embraces her again.) 

Dora. ( Hand on his cheek ) I’ve been so sorry 
for you all week — the way the papers treated you. 

Holcomb. I’ll let ’em repeat it — if it makes you 
care for me. He’s coming back. Say “I love you” 
— it’s in the part, anyway. (Kisses her.) 

Dora. I do — I do. 


THE HARVEST MOON 89 

(Enter Vavin.,) 

Vavin. Excuse me — there was a call on the other 
telephone. But you see — don't you — that the moon- 
light is better? 

Holcomb and Dora. (Together) Much better — 
very much better. 

Vavin. All that we can do in one day. ( Crosses , 
turns up white light.) We can call a rehearsal for 
tomorrow afternoon. 

Holcomb. Yes. 

Vavin. I may help you ? 

Dora. You must help us. (Goes to Holcomb . ) 

Vavin. Good. Then, Monsieur, you can help 
me. It had been my intention to go home with 
Mademoiselle as her escort. I find, however, that — 
there is a gentleman who comes to me immediately 
on much financial business. May I impose ? 

Holcomb. (Looks at Dora) To see the lady 
home? 

Vavin. Yes. 

Holcomb. Delighted, Monsieur. 

Vavin. And you, my dear — excuse me? 

Dora. Certainly. (Helping her on with her coat , 
Holcomb crosses to door r.u., speaks off.) 

Holcomb. You have my coat? 

('Henri enters with coat.) 

Vavin. (l. with Dora) You know I like this 
fellow. 

Dora. (Apart) Oh — a wonderful man, Mon- 
sieur. 

Vavin. I can see it — I can see it. Oh yes, a 
wonderful man. (Turns to Holcomb who has had 
his coat put on.) Then to-morrow, Monsieur? 

Holcomb. At two. 


90 


THE HARVEST MOON 


Vavin. (Reversing Dora’s cloak) This time we 
put the gaiety inside. 

Dora. Good-night. 

Vavin. I can see — ’es a wonderful man — but 

mes enfants (To Holcomb.,) Before you go — 

a glass of wine 

Holcomb. No, thank you. 

(Exeunt Dora and Holcomb .) 

Vavin. Oh — I am alone? (Pours his glass of 
wine. Speaking to Henri.,) She is very like her 
mother, Henri. 

Henri. Very like her mother, Monsieur. 

Vavin. (Turns out white light — goes to window) 
Also ’es a very wonderful man. 

Henri. Oui, Monsieur. 

Vavin. (Pause, looking up in the moonlight) 
It is a droll God, Henri. 

Henri. A droll God, Monsieur. 

Vavin. (Up c.) A droll God — with ’es vintage 
— and the autumn — and ’es children — and ’es har- 
vest moon. 


(CURTAIN) 


ACT IV 


Time: Summer . Two days later than Act III. 

Scene: Same as Act I with addition of fire in fire- 
place. 

Discovered: Cornelia and Mrs. Winthrop. Mrs. 
Winthrop is comforting Cornelia, who has 
smelling bottle. A tea service is on table. Judge 
and Graham at fireplace. 

Mrs. Winthrop. Come now — Cornelia — com- 
pose yourself. If the danger of publicity and the 
anxiety disturb you, think how your brother must 
feel. 

Cornelia. ( On sofa ) It is only of him I’m 
thinking. 

Judge. And he may walk in at any moment. 

Cornelia. If she were to be simply dead when 
they find her 

Mrs. Winthrop. Cornelia ! 

Cornelia. I mean it — In some pond or river — 
I could bear it — so could brother — but I know 
there'll be some horrid scandal too — she was born 
to disgrace us. 

Judge. It's probably only over strain and study 
and the poor girl has wandered off in some aberra- 
tion. 

Cornelia. Not she — the kind of aberration she 
has are her mother's kind. Vanity and vicious per- 
91 


THE HARVEST MOON 


92 

verseness. (Rises, goes l.J Poor Marshall — poor 
brother Marshall. 

Mrs. Winthrop. Listen. 

Judge. Wagon! 

Graham. I’ll go over to the Inn for a little while. 
(Exit back.) 

Mrs. Winthrop. Now be brave — this shadow is 
on the home. Let him know he has a sister and 
friends. 

Cornelia. (Seated l.) Called from his classes 
at Harvard — all the students will soon be discussing 
it. Oh! ( Cornelia rises, walks up and down l.J 

Judge. (Warning) Cornelia! 

(Enter Fullerton in traveling suit.) 

Fullerton. Judge — Mrs. Winthrop — this is very 
kind. How is Dora now? 

Mrs. Winthrop. Dora? 

Fullerton. Yes. 

Judge. (Down rJ We haven’t seen her. 

Fullerton. What! 

Judge. I telegraphed you she was missing. 

Fullerton. Missing? — she was here last night. 

Mrs. Winthrop. Here? 

Fullerton. Certainly — she wired me from New 
York to meet her here. I was away— to-day a sec- 
ond message with the same request came from here. 
You don’t know where she is? 

Judge. We don’t 

Fullerton. What did she tell you? 

Cornelia. Nothing. 

Fullerton. What has happened? 

Mrs. Winthrop. Yesterday morning we thought 
Dora sleeping unusually late — finally called her — she 
was gone. The bed was undisturbed — we made 
inquiries. The man who runs the elevator said the 


THE HARVEST MOON 


93 

young lady went out of the apartment at daylight — 
and left this. (Takes note from breast.) 

Fullerton. (Reading) “Dear — dear Mrs. Win- 
throp — a million thanks for all your kindness. For- 
give me. Goodbye.” (Speaks.) Forgive her? 
Why? (Hands note to Mrs. Winthrop. Mrs. 
Winthrop shrugs. To Cornelia — crosses l.c.) 
Nothing to you? 

Cornelia. (In burst of tears) Nothing. 
Fullerton. Why did you wait until to-day be- 
fore wiring me? 

Cornelia. I wanted to wire yesterday. 

Mrs. Winthrop. We were sure Dora would 
report at the theatre in the evening. 

Fullerton. And you did nothing? 

Judge. Everything — informed the police — pri- 
vately. Saw Vavin — saw the people at the theatre — 
the members of the company. 

Mrs. Winthrop. Such friends of mine as Dora 
had met — during our stay in New York. 

Fullerton. No trace of her? 

Judge. None. 

(Enter Dora at r.J 

Fullerton. Dora. 

Dora. (Anxiously) Papa — Papa (Crosses 

to him.) 

Fullerton. My darling. (Taking her.) 

Dora. You are my father? 

Fullerton. Why, Dora ? 

Dora. (Wavering in gaze between Cornelia and 
Fullerton ) Are you ? 

Cornelia. (Rising) I had to tell her. 
Fullerton. Cornelia ! 

Dora. Is it true ? 


94 


THE HARVEST MOON 


Fullerton. I love you, my dear — no girl was 
ever closer to a father’s heart. 

Dora. Did Cornelia tell the truth ? 

Fullerton. Not as I should tell it. Dora — if 
it has hurt you this way 

Dora. I’m not your daughter? 

Mrs. Winthrop. (To Cornelia J We’ll wait in 
the parlor. (Exit quietly.) 

Judge. Just here (Follows Mrs. Win- 

throp.J 

Fullerton. You’re the daughter of the woman 
I loved, my dear, and so like her that I doubly love 
you — that makes you my daughter. 

Dora. (Sits — shrinking) Like her — it’s awful 
that children have to do the suffering. 

Fullerton. The cruelty of it. (To CorneliaJ 
What did you tell her? 

Cornelia. You know very well what I told her. 

Fullerton. Cornelia ! 

Cornelia. When she determined to drag our 
name in the gutter with this actor — yes! and don’t 

look at me that way ( Crosses to r.J I’ve 

stood the oppression of it for eighteen years — 
there’s a limit to human endurance. ( Exit hysteri- 
cally rJ 

Fullerton. (Sits on sofa) What actor? What 
is it, dearie? 

Dora. Cornelia came in my room that night 

(Perplexed.) Thursday! We’d just come home 
from Monsieur Vavin’s and I told her I’d promised 
to marry him. 

Fullerton. Marry whom? 

Dora. Mr. Holcomb — I didn’t tell Mrs. Win- 
throp because Graham was there — but I was happy 
about it all — and was singing — not very loudly — but 
it waked Cornelia. She came in to scold me — I 
thought she’d understand if I explained the reason 


THE HARVEST MOON 95 

I was happy and then — she told me this awful thing. 
(Rises. Crushed. Crosses to l.J 

Fullerton. (Follows h.) My poor Dora. 

Dora. I thought if I started early I could see 
you here and maybe get back to the theatre last 
night. 

Fullerton. I was in Albany to speak at a din- 
ner. 

Dora. When you didn’t come I couldn’t go back. 

Fullerton. Where were you? 

Dora. With Mrs. Blair. 

Fullerton. Mrs. Blair? 

Dora. Our old laundress — she didn’t bother me 
with questions. This evening I saw the light here 
and I knew you had come. (Looks about.) But 
everything has changed. ( Crosses to c.) 

Fullerton. (Stops Dora, c .) Nothing has 
changed. 

Dora. ( Shaking head ) I’ve got to go somewhere. 

Fullerton. I couldn’t let you go anywhere from 
me. 

Dora. Yes! I told Mrs. Blair that I might be 
back with her. 

Fullerton. Why, this is your home. You can’t 
go to a servant’s. 

Dora. Better than I am — she tried to cheer me 
with stories of her girlhood and her father. (Weeps.) 

Fullerton. We are each of us, dearie, just what 
we make ourselves. People don’t love you on my 
account — some of them don’t like me at all. It may 
even prove a relief to Mr. Holcomb to learn that 
I’m only an old fellow who loves you and that he 
doesn’t have to mind what I say. 

Dora. I won't see him any more. 

Fullerton. You will if he loves you and if you 
really love him. I won’t make you unhappy by my 
opposition. 


9 6 


THE HARVEST MOON 


Dora. No, that’s over (Shakes head slowly.) 

Fullerton. Then I shall be all the happier hav- 
ing you all to myself as I’ve had you always. 

Dora. I must go — my mother’s daughter hasn’t 
any claim on you. 

Fullerton. I loved her and I love the daughter. 

Dora. I’ve thought it over thoroughly — my 
mind’s made up. Some day I’ll try and repay you. 
Good-bye. (Gives hand.) 

Fullerton. (Crosses to r.) I can’t allow it. 
(Calls.) Judge, send Mrs. Winthrop to me. 

Dora. I told Mrs. Blair I’d come back. 

(Enter Mrs. Wintrop.J 

Fullerton. The child is broken-hearted. (Dora 
sits sofa.) Cornelia has been needlessly harsh and 
sudden. Tell her, Mrs. Winthrop, of all the years 
you’ve known us and how — how safe she is in the 
hearts of us all. 

Mrs. Winthrop. You must know that, Dora. 

Dora. It would have been kinder to have told me 
long ago — you should have told me. 

Mrs. Winthrop. I didn’t know it. 

Dora. You didn’t? 

Fullerton. No. 

Mrs. Winthrop. Not till you told it yourself 
just here. (Knock at hack door.) 

Dora. (Rises, crosses l.J Who is that? 

Fullerton. I’ll see. (Opens door.) 

Graham. (Entering, comes down to Dora, l.c.) 
Why, Dora, I’m so glad to see you. 

Dora. (To FullertonJ I can’t stay. (Mrs. 
Winthrop signals Graham.J 

Graham. (Crosses to sofa) What’s happened? 

Mrs. Winthrop. Bad news — don’t ask 


THE HARVEST MOON 


97 

Graham. Holcomb and Vavin are here — at the 
Inn. 

Dora. No — no. 

Fullerton. You needn’t see him. 

Graham. (To Dora,) Holcomb behaving badly? 

Dora. No. 

Mrs. Winthrop. Don’t talk, Graham. 

Dora. I want to go. 

Fullerton. We can’t let her go. 

Mrs. Winthrop. Go ! Why, the idea ! 

Dora. You don’t say it but — but I can feel the 
difference. 

Mrs. Winthrop. Difference ? 

Dora. (To Graham ) You asked me to marry 
you, didn’t you? 

Graham. (Crosses c.) Yes — and I mean to 
keep on asking it. 

("Mrs. Winthrop signals.) 

Dora. I’m an adopted girl 

Graham. Adopted? 

Dora. You didn’t know that, did you? 

Graham. No — but ("Mrs. Winthrop 

touches Graham — sees Mrs. Winthrop.,) But 
what of it? (To Mother.) 

Mrs. Winthrop. What of it? Don’t be heart- 
less, Graham — they’ve just told it to Dora — and it’s 
made her unhappy — naturally. 

Graham. Should think she’d be kind o’ glad — 
stops all that nonsense talk about her 

Mrs. Winthrop. Graham! 

Dora. Let him say it — about my mother 

Graham. Well ? 

Dora. I still have her. It’s the father I’ve lost. 

Fullerton. Dora. 

Dora. Do you still want to marry me? 


98 


THE HARVEST MOON 


Mrs. Winthrop. ( Quickly ) That isn’t fair, 
Dora dear. You know you have promised to marry 
Mr. Holcomb. 

Dora. (Quickly to Fullerton,) There are some 
things in my old room that I need. 

Fullerton. My child. 

Dora. I knew you’d say I might have them 

(Exit r.J 

Fullertop. (Calls) Judge! 

Graham. I don’t believe I’m a snob — but you 
frighten me, mother, so that I behave like one. 

(Enter Judge r. — Mrs. Winthrop goes to l.J 

Fullerton. Dora doesn’t consent to stay here. 

Judge. Well, Mrs. Winthrop’s cottage 

Fullerton. I fear that won’t be agreeable, 
either. 

Graham. (To Mrs. WinthropJ That was an 
awful jolt. 

Judge. What? 

Graham. About Holcomb. Dora was trying to 
feel where she stood with us— -mother substituted 
Holcomb. 

Mrs. Winthrop. He’s followed her — at the Inn 
— now. 

Fullerton. He may help us. 

Graham. He will help you if he’s not a two 
spot. 

Fullerton. I can’t leave her alone. (To Judge . ) 
Telephone Holcomb. (Exit r.) 

Judge. (Starts to go r.) Yes. 

Mrs. Winthrop. Let Graham do it — I want a 
word with you. (Bus. with Judge. Judge comes 
to Mrs. Winthrop, c.) 

Graham. I can get him as soon as telephone. 
That’s fate for you — make me play his game. (Exit 
c.) 


THE HARVEST MOON 99 

Mrs. Winthrop. Adopted? ("Judge nods.) But 
she’s the very image of the mother. 

Judge. (Front of sofa) She is — but even in 
France a child has — two parents. 

Mrs. Winthrop. Don’t endeavor to be idiotic, 
Judge — your natural equipment is enough. 

Judge. (Sits) Thank you. 

Mrs. Winthrop. You knew this. 

Judge. Yes. 

Mrs. Winthrop. How long? 

Judge. About a month. 

Mrs. Winthrop. And withheld it from me? 

Judge. I’m Fullerton’s attorney. 

Mrs. Winthrop. Does that make you his ac- 
complice ? 

Judge. In the mind of the layman — the relation- 
ship is sometimes confused — but with your clarity 
of perception, Gertrude 

Mrs. Winthrop. Rubbish. What of your 
boasted fidelity? 

Judge. To Fullerton? 

Mrs. Winthrop. To me. 

Judge. Oh (Pause.) Fidelity to you. 

Mrs. Winthrop. Yes. 

Judge. (Moves r. towards Mrs. Winthrop. 
Pause — smile) That’s the most encouraging thing 
you’ve said — do you know 

Mrs. Wintpirop. You did your best to marry the 
girl to Graham — an adopted child ! 

Judge. But if Graham loved her 

Mrs. Winthrop. Oh — mush (Crosses l.J 

Judge. Mush 

Mrs. Winthrop. How can we hope for any 
family distinction in America if men of your sup- 
posed intelligence connive at mongrel alliances 

Judge. (Follows Mrs. WinthropJ Mongrel? 


100 


THE HARVEST MOON 


Mrs. Winthrop. Think! Graham Winthrop to 
marry a girl — whose parentage Oh 

Judge. Was your affection for Dora genuine? 

Mrs. Winthrop. I opened my apartment in New 
York 

Judge. (More firmly) Was your affection genu- 

Mrs. Winthrop. See here, Judge — don't brow- 
beat me. 

Judge. Brow-beat 

Mrs. Winthrop. When I’m answering a ques- 
tion my own way don't adopt the method of a cross 
examiner. 

Judge. Excuse me. (Sits.) 

Mrs. Winthrop. I resent any conspiracy be- 
tween him and his attorney to arrange a mesalliance 
for Graham Winthrop. (Crosses to R.) 

Judge. I think I would have told you if there'd 
been any real danger. 

Mrs. Winthrop. You didn't tell me. 

Judge. It was all, Holcomb. 

Mrs. Winthrop. You just said your fidelity to 
Fullerton kept you silent. 

Judge. That was — my — first and superficial im- 
pression, but now I realize that I'd rather be dis- 
barred than deceive you. 

Mrs. Winthrop. Your willingness to be dis- 
barred comes well after your retirement from prac- 
tice. 

Judge. Why, Gertrude, that’s as — as pungent — 
as anything in Vavin's awful book. 

(Enter Graham at back.) 

Graham. Yes — this way! 

(Enter Holcomb and Vavin/J 


THE HARVEST MOON 


IOI 


Holcomb. (To Judge ) Mr. Winthrop has told 
us the situation. I must be permitted to see Miss 
Dora. 

Judge. Professor thinks you should see her. ( Exit 

R.) 

Graham. No yellow streak in him. 

Vavin. It is not my affair — but in choosing a 
wife one should be sure — without doubt — content. 

Mrs. Winthrop. Exactly. 

Holcomb. Doubt? — of Dora! 

Vavin. Is there not? 

Holcomb. Not with me. 

Vavin. (Sits l.) Isn’t that of the theatre — 
these heroics. 

Holcomb. Heroics? I’m not asking anybody’s 
opinion of my conduct — not of her. On the con- 
trary, I’m qualified to resent it — if it becomes un- 
pleasant. (Goes up to bookcase l.) 

(Enter Judge.J 

Judge. She won’t listen to us. Advise her to stop 
here to-night — at least. 

(Re-enter Dora and Fullerton . ) 

Holcomb. Dora. 

Dora. Forgive me ! 

Holcomb. For what? 

Dora. Your play last night 

Holcomb. I forget — the theatre. You’re un- 
happy. 

Dora. Yes. But I’m going to face it. 

Holcomb. (To Fullerton J Dora’s told you 
she has promised to marry me? 

Fullerton. Yes. 

Dora. No — you’re generous of course, but you 
didn’t know. 


102 


THE HARVEST MOON 


Holcomb. I do know. 

Dora. Some day — it — would come between us — * 
doubts like that grow and grow. You can’t banish 
them — Monsieur Vavin knows. They drive boys to 
prison — they drive women to despair — they’d make 
— even you unhappy. 

Holcomb. I’ll take my share. Nobody’s handed 
me any contract not to be unhappy. 

Dora. In a year — I’ll let you know wherever I 
am — if you still think the same way. 

Vavin. ( Goes up. Interposing) You are leav- 
ing without a place to go. 

Dora. Oh, no — I have a woman friend living 
here. 

Fullerton. A former servant, Monsieur, a me- 
chanic’s wife. 

Vavin. Your servant. 

Fullerton. Yes. 

Vavin. That will be safe then — but, my dear — 
my man Henri — (Takes Dora’s hand.) — is he here? 

Graham. I’ll see. (Exit r.J 

Vavin. You remember what I said to you only 
Monday afternoon at Mrs. Winthrop’s — the courage 
of that nose, that firm jaw. Anyone but a girl with 
a strong mind after these years of suggestion would 
have broken down. Have done not as wisely as you 
do — any but a strong girl might have disappeared 
forever. Even a strong girl might have gone to her 
father at — at ’es college — I am proud of this judg- 
ment you show — to invite him here instead. 

Dora. I had always gone to him in trouble. 
(Looks at Fullerton.) I hoped that he might tell 
me Aunt Cornelia had — that she was mistaken. 

Vavin. That is still the hopeful way. Perhaps 
Aunt Cornelia is mistaken. 

Dora. No — I am not the- 
was not mistaken. 


(Pause.) She 


THE HARVEST MOON 103 

(Re-enter Graham, r. Dora sits.) 

m Vavin. I meant mistaken about the mother’s 
history 

Graham. (Reporting to Vavin ) No, sir. 

Vavin. Thank you. Of course you are not the 
daughter of Professor Fullerton — but — what girl is 
’es daughter ! The world is full of girls of light 
heart and helpfulness and none — not one — ’es daugh- 
ter. 

Dora. I am nobody’s daughter. 

Vavin. Well, I have studied some (Looks 

at Judge. J Well — we must live. It is to face the 

future (Takes her hand.) Why do you think, 

my dear — God lets us suffer? 

Dora. I don’t know — I don’t think I’ve deserved 
it. 

Vavin. I will tell you — from suffering comes 
pity for someone else who suffers, too. 

Dora. (Rises) You mean ? 

Vavin. Anybody — everybody. From pity — 
comes the human love and then help and then al- 
together we broken-hearted — (Lets her hand go .) — 
we wounded ones — we cripples — we take one step — 

forward (Pause.) It was a proud moment 

Monday afternoon when you — stood up and said 
“I will do my work in the theatre.” 

Dora. I didn’t know. 

Vavin. That is the way to do one’s duty. 

Dora. I’ll get work of a kind a girl like me should 
do. 

Vavin. I know — in the books and newspapers — 
the unhappy woman gets some hard work with poor 
pay. 

Dora. I’ll do it. 

Vavin. That is again a suggestion. Get honest 
work, but don’t refuse the best pay and you have not 


104 


THE HARVEST MOON 


to hunt for it. This gentleman, we have closed his 
theatre — for two nights. Now Monday again we 
open — yes. 

Holcomb. ( Comes to Dora, l.c.) Yes, Dora — 
(To Vavin.J You’ll help us. ("Vavin nods.) We’ll 
get public interest — this good friend’s help. 

Dora. I can’t. 

Vavin. Don’t hear yourself speak that — say I’ll 
try. (Pause.) With me— “I’ll try.” 

Dora. Yes. 

Vavin. The words, “I’ll try.” 

Dora. I’ll try. 

Vavin. Bravo. It already begins 

Dora. You’re awfully good to me. 

Vavin. You see, my friends — that is like the 
mother. She had also her work — and that same 
strong heart — what a fine thing for a mother to give 
that to her child 

Fullerton. The mother was a charming and 
cultivated woman — she was subjected to unusual 
temptations and practically unprotected — when she 
made — her mistake 

Vavin. Did she make mistakes? 

Fullerton. I have only her letter to her people 
— asking them — to give their name to her daughter. 

("Holcomb holds Dora as she starts to go.) 

Vavin. Wait, my dear. I know something about 
that. 


(Enter Henri.,) 

Vavin. Oh — Henri — the book? (Tullerton 
crosses to R. Judge l.J 

Henri. Monsieur ( Gives book. Crosses r.J 

Vavin. My friends — here is a book I have found 


THE HARVEST MOON 105 

— (To Fullerton.J — since you first told me this 
same thing — here — four weeks ago. (Regards book.) 
I have marked the place— which I ask Judge Elliott 
to read — - (Gives book — Holcomb goes back to 
c.) Henri — my servant — Henri — ah Mademoiselle 
is very like her mother in the face— is she not? 

Fullerton. Almost identically. 

Vavin. Henri notices the resemblance a month 
ago — when we were here. 

Fullerton. Henri ! 

Vavin. ( c.) Nineteen years ago Henri was gar- 
con for a man— well— for the father— of Mademoi- 
selle. 

Dora. (Comes down) My father! 

Fullerton. He is sure. 

Vavin. Even the mother’s name he remembers. 
Your master called her ? 

Henri. Beatrice. 

Fullerton. Beatrice. 

Dora. The man — who was he? 

Vavin. Henri said a journalist — for the papers 
— and that law — (Indicates book that Judge holds.) 
— you see a divorced woman must wait nearly a year 
— so they went to England and were married 

Fullerton. He is sure. 

Vavin. He is sure. 

Fullerton. But — why her family name for her 
daughter ? 

Vavin. I find that too — Judge. I have marked 
also a place — Marriage in a foreign country by a 
French citizen shall be lawful if in returning to 
France, the marriage is registered. (Judge nods.) 
Now this happens to them — There is a quarrel — 
domestic — between Madame Fullerton and the mas- 
ter of Henri. It occurs often that persons much in 
love have such a quarrel. The man is French — 
remember — foolish — young — he goes from this quar- 


io6 


THE HARVEST MOON 


rel to Bordeaux and writes that law for the first 
time to ’es wife. Only to frighten her — he writes 
“Our marriage is not yet registered — In the French 
law you are not — my wife.” He writes that — this — 
this — scoundrel — and he says, Madame if you are 
to be often so exigeante — so unreasonable — I will not 
let this marriage be registered. Think of that blow 
on a wife’s heart. 

Fullerton. Beatrice 

Vavin. And then, too — her condition — which she 
conceals from ’em. Do you wonder that she — hides 
herself in that little stone house by the river at Mon- 
tigny sur Loign — till — till she is dead? 

Dora. He never went to her? 

Vavin. He didn’t know — he is unhappy himself 
when he comes home to Paris. Then he registers 
this marriage — but she is away. He thinks only an 
angry woman has gone to America. He — he doesn’t 
know until one day among the little girls, the young 
ladies by the convent he — Mon Dieu — the same face 
and the instructrice tells him “that is a little Amer- 
icaine — that girl there.” 

Dora. Tells him — tells — tells 

Vavin. Tells me — I am that scoundrel — yes — 
yes. 

Dora. You? 

Vavin. Yes. 

Dora. My father. 

Vavin. God has been that good to me. 

Fullerton. It was you — you married her. 

Vavin. I married her. Between us — between 
you and me — we — we killed her. 

Fullerton. Killed her? 

Vavin. You drove her from you with your 
suggestions that she was frivolous and foolish to 
sing — I drove her from me with my suggestion that 
she was not a wife — when she was yet a mother. 


THE HARVEST MOON 107 

Dora. My father. 

Vavin. Again — cherie, speak that! 

Dora. My father. 

Vavin. I wear this button. I am in the Academic. 
I write my books just to be worthy to hear that 
word. 

Fullerton. Why did you not tell me this three 
years ago in France? 

Vavin. She thought you her father — you loved 
her. I could not be twice so selfish. ("Holcomb to 
Dora.J I did not know that Aunt Cornelia was 
doing for this child what we did for the mother. 

Judge. But last month when Professor Fullerton 
told us both in his room 

Vavin. This child was then struggling — her soul 
to get a breath from under this smother-blanket of 
suggestion. We are not strong when one lifts us 
from our despair — only when we ourselves climb. 

Holcomb. She is your daughter. 

Vavin. My daughter — In our plays, my son, let 
us help them to look up. 


(CURTAIN) 


GARRICK THEATRE 

(First performance in New York Oct. 18, 1909) 

CHARLES FROHMAN 


Presents 

A New Play, in Four Acts, Entitled 
THE HARVEST MOON 
BY 


AUGUSTUS THOMAS 


CAST 


(The Characters are named in the order in which they 
first speak) 


Cornelia Fullerton.. 

Dora Fullerton 

Professor Fullerton 

Mr. Holcomb 

Mrs. Winthrop 

Graham Winthrop . . 

Judge Elliott 

Henri 

Monsieur Vavin . . .s 
Maid 


. .Margaret Sayres 
. Adelaide Nowak 
. . Stephen Wright 

John Stokes 

Jennie A. Eustace 
. . Thomas Russell 

John Saville 

, . . Harry L. Lang 

George Nash 

Helena van Brugh 


SYNOPSIS OF SCENES 


ACT I 


Study of Marshall Fullerton at Lenox, Mass. August. 
ACT II 


Mrs. Winthrop’s Apartment, New York City. Four weeks 
later. 


ACT III 

Vavin's Apartment, Plaza Hotel, New York City. Four 
days later. 

ACT IV 

Same as Act I. Two days later. 


The Touch-Down 

A comedy in four acts, by Marion Short. 8 males, 6 females, but 
any number of characters can be introduced in the ensembles. Cos- 
tumes modern. One interior scene throughout the play. Time, 2 % 
hours. 

This play, written for the use of clever amateurs, is the story of 
life in Siddell, a Pennsylvania co-educational college. It deals with 
the vicissitudes and final triumph of the Siddell Football Eleven, and 
the humorous and dramatic incidents connected therewith. 

“The Touch-Down” has the true varsity atmosphere, college songs 
are sung, and the piece is lively and entertaining throughout. High 
schools will make no mistake in producing this play. We strongly 
recommend it as a high-class and well-written comedy. 

Price, 30 Cents. 

Hurry, Hurry, Hurry 

A comedy in three acts, by LeRoy Arnold. 5 males, 4 females. 
One interior scene. Costumes modern. Plays 2J4 hours. 

The story is based on the will of an eccentric aunt. It stipulates 
that her pretty niece must be affianced before she is twenty-one, and 
married to her fiance within a year, if she is to get her spinster 
relative’s million. Father has nice notions of honor and fails to tell 
daughter about the will, so that she may make her choice untram- 
meled by any other consideration than that of true love. The action 
all takes place in the evening the midnight of which will see her 
reach twenty-one. Time is therefore short, and it is hurry, hurry, 
hurry, if she is to become engaged and thus save her father from 
impending bankruptcy. 

The situations are intrinsically funny and the dialogue is sprightly. 
The characters are natural and unaffected and the action moves with 
a snap such as should be expected from its title. Price, 30 Cents. 

The Varsity Coach 

A three-act play of college life, by Marion Short, specially adapted 
to performance by amateurs or high school students. 5 males 6 
females, but any number of boys and girls may be introduced in the 
action of the play. Two settings necessary, a college boy’s room and 
the university campus. Time, about 2 hours. 

Like many another college boy, “Bob” Selby, an all-round popular 
college man, becomes possessed of the idea that athletic prowess is 
more to be desired than scholarship. He is surprised in the midst of 
a “spread” in his room in Regatta week by a visit from his aunt 
who is putting him through college. Aunt Serena, "a lady of the old 
school and the dearest little woman in the whole world,” has hastened 
to make this visit to her adored nephew under the mistaken impression 
that he is about to receive the Fellowes prize for scholarship. Her 
grief and chagrin when she learns that instead of the prize Robert 
has received “a pink card,” which is equivalent to suspension for poor 
scholarship, gives a touch of pathos to an otherwise jolly comedy of 
college life. How the repentant Robert more than redeems himself, 
carries off honors at the last, and in the end wins Ruth, the faithful 
little sweetheart of the “Prom” and the classroom, makes a story of 
dramatic interest and brings out very clearly certain phases of modern 
college life. There are several oppoxtunities for the introduction of 
college songs and “stunts.” Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 


SAMUEL FRENCH, 28-30 West 38th Street, New York City 

Maw and Explicit Descriptive Catalogue Mailed Free on Reouest 


The Return of Hi Jinks 

A comedy in four acts, by Marion Short, author of “The Varsity 
Coach,” “The Touch-Down,” etc. 6 males, 8 females. Costumes 
modern. One interior scene. 

This comedy is founded upon and elaborated from a farce comedy 
in two acts written by J. H. Horta, and originally produced at Tuft’s 
College. 

Hiram Poynter Jinks, a Junior in Hoosic College (Willie Collier 
type), and a young moving picture actress (Mary Pickford type), are 
the leading characters in this lively, modern farce. 

Thomas Hodge, a Senior, envious of the popularity of Jinks, wishes 
to think up a scheme to throw ridicule upon him during a visit of 
the Hoosic Glee Club to Jinks’s home town. Jinks has obligingly acted 
as a one-day substitute in a moving picture play, in which there is a 
fire scene, and this gives Hodge his cue. He sends what seems to 
be a bona fide account of Jink’s heroism at a Hoosic fire to Jink’s 
home paper. Instead of repudiating his laurels as expected, Jinks 
decides to take a flyer in fame, confirms the fake story, confesses to 
being a hero and is adored by all the girls, to the chagrin and dis- 
comfiture of Hodge. Of course, the truth comes out at last, but 
Jinks is not hurt thereby, and his romance with Mimi Mayflower 
comes to a successful termination. 

This is a great comedy for amateurs. It is full of funny situations 
and is sure to please. Price, 30 Cents. 


June 

A most successful comedy-drama in four acts, by Marie Doran, 
author of “The New Co-Ed,” “Tempest and Sunshine,” “Dorothy’s 
Neighbors,” etc. 4 males, 8 females. One interior scene. Costumes 
modern. Plays 2 hours. 

This play has a very interesting group of young people. June is 
an appealing little figure, an orphan living with her aunt. There are 
a number of delightful, life-like characters: the sorely tried likeable 
Mrs. Hopkins, the amusing, haughty Miss Banks of the glove depart- 
ment, the lively Tilly and Milly, who work in the store, and ambitious 
Snoozer; Mrs. Hopkins’s only son, who aspires to be President of the 
United States, but finds his real sphere is running the local trolley 
car. The play is simplicity itself in the telling of an every-day story, 
and the scenic requirements call for only one set, a room in the 
boarding house of Mrs. Hopkins, while an opportunity is afforded to 
introduce any number of extra characters. Musical numbers may be 
introduced, if desired. Price, 30 Cents. 


Tempest and Sunshine 

A comedy drama in four acts, by Marie Doran. 5 males and % 
females. One exterior and three interior scenes. Plays about 2 hours, 

Every school girl has revelled in the sweet simplicity and gentle- 
ness of the characters interwoven in the charms that Mary J. Holmes 
commands in her story of “Tempest and Sunshine.” We can strongly 
recommend this play as one of the best plays for high school pro- 
duction published in recent years. Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 


SAMUEL FRENCH, 28-30 West 38th Street, New York City 

New and Explicit Descriptive Catalogue Mailed Free on Request 


THE REJUVENATION OF AUNT MARY. 

The famous comedy in three acts, by Anne Warner. 7 males, 6 
females. Three interior scenes. Costumes modern. Plays 2 % hours. 

<f , Thj 9 is *. genuinely funny comedy with splendid parts for “Aunt Mary,” 
Jack, her lively nephew; “Lucinda,” a New England ancient maid of all work; 
Jack s three chums; the Girl “Jack” loves; “Joshua,” Aunt Mary’s hired 
man, etc. 

“Aunt Mary” was played by May Robson in New York and on tour for over 
two years, and it is sure to be a big success wherever produced. We strongly 
recommend it. Price, 60 Cents. 


MRS. BUMSTEAD-LEIGH. 

A pleasing comedy, in three acts, by Harry James Smith, author of 
“The Tailor-Made Man.” 6 males, 6 females. One interior scene. Cos- 
tumes modern. Plays 2 % hours. 

Mr. Smith chose for< his initial comedy the complications arising from the 
endeavors of a social climber to land herself in the altitude peopled by hyphenated 
names— a theme permitting innumerable complications, according to the spirit of 
the writer. 

This most successful comedy was toured for several seasons by Mrs. Fiske 
with enormous success. Price, 60 Cents. 


MRS. TEMPLE’S TELEGRAM. 

A most successful farce in three acts, by Frank Wyatt and William 
Morris. 5 males, 4 females. One interior scene stands throughout the 
three acts. Costumes modern. Plays 2 l / 2 hours. 

“Mrs. Temple’s Telegram” is a sprightly farce in which there is an abund- 
ance of fun without any taint of impropriety or any element of offence. As 
noticed by Sir Walter Scott, “Oh, what a tangled web we weave when first we 
practice to deceive!” 

There is not a dull moment in the entire farce, and from the time the curtain 
rises until it makes the final drop the fun is fast and furious. A very exceptional 
farce. Price, 60 Cents. 


THE NEW CO-ED. 

A comedy in four acts, by Marie Doran, author of “Tempest and 
Sunshine,” etc. Characters^ 4 males, 7 females, though any number of 
boys and girls can be introduced in the action of the play. One interior 
and one exterior scene, but can be easily played in one interior scene. 
Costumes modern. Time, about 2 hours. 

The theme of this play is the coming of a new student to the college, her 
reception by the scholars, her trials and final triumph. 

There are three especially good girls’ parts, Letty, Madge and Estelle, but 
the others have plenty to do. “Punch” Doolittle and George Washington Watts, 
a gentleman of color, are two particularly good comedy characters. We can 
strongly recommend “The New Co-Ed” to high schools and amateurs. 

Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 


SAMUEL FRENCH, 28-30 West 38th Street, New York City 

New and Explicit Descriptive Catalogue Mailed Free on Request 


1 


FRENCH’S 

Standard Library Edition 

Includes Plays by 


Clyde Fitch 
William Gillette 
Augustus Thomas 
George Broadhurst 
Edward E. Kidder 
Percy MacKaye 
Sir Arthur Conan Doyle 
Louis N. Parker 
R. C. Carton 
Alfred Sutro 
Richard Harding Davis 
Sir Arthur W. Pinero 
Anthony Hope 
Oscar Wilde 
H addon Chambers 
Jerome K. Jerome 
Cosmo Gordon Lennox 
H. V. Esmond 
Mark Swan 
Grace L. Fumiss 
Marguerite Merrington 
Hermann Sudermann 
Rida Johnson Young 
Arthur Law 
Rachel Crothers 
Martha Morton 
H. A. Du Souchet 
W. W. Jacobs 
Madeleine Lucette 


Ryley 


Booth Tarkington 
J. Hartley Manners 
James Forbes 
James Montgomery 
Wm. C. de Mille 
Roi Cooper Megrue 
Edward E. Rose 
Israel Zangwill 
Henry Bernstein 
Harold Brighouse 
Channing Pollock 
Harry Durant 
Winchell Smith 
Margaret Mayo 
Edward Peple 
A. E. W. Mason 
Charles Klein 
Henry Arthur Jones 
A. E. Thomas 
Fred. Ballard 
Cyril Harcourt 
Carlisle Moore 
Ernest Denny 
Laurence Housman 
Harry James Smith 
Edgar Selwyn 
Augustin McHugh 
Robert Housum 
Charles Kenyon 
C. M. S. McLellan 


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tains plays, comedies and farces of international 
reputation; also recent professional successes by 
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SAMUEL FRENCH 

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